text:
- After Effects User Guide
- Beta releases
- Getting started
- Workspaces
- Projects and compositions
- Importing footage
- Text and Graphics
- Text
- Motion Graphics
- Work with Motion Graphics templates in After Effects
- Use expressions to create drop-down lists in Motion Graphics templates
- Work with Essential Properties to create Motion Graphics templates
- Replace images and videos in Motion Graphics templates and Essential Properties
- Animate faster and easier using the Properties panel
- Drawing, Painting, and Paths
- Overview of shape layers, paths, and vector graphics
- Paint tools: Brush, Clone Stamp, and Eraser
- Taper shape strokes
- Shape attributes, paint operations, and path operations for shape layers
- Use Offset Paths shape effect to alter shapes
- Creating shapes
- Create masks
- Remove objects from your videos with the Content-Aware Fill panel
- Roto Brush and Refine Matte
- Layers, Markers, and Camera
- Animation, Keyframes, Motion Tracking, and Keying
- Animation
- Keyframe
- Motion tracking
- Keying
- Transparency and Compositing
- Adjusting color
- Effects and Animation Presets
- Effects and animation presets overview
- Effect list
- Effect Manager
- Simulation effects
- Stylize effects
- Audio effects
- Distort effects
- Perspective effects
- Channel effects
- Generate effects
- Transition effects
- The Rolling Shutter Repair effect
- Blur and Sharpen effects
- 3D Channel effects
- Utility effects
- Matte effects
- Noise and Grain effects
- Detail-preserving Upscale effect
- Obsolete effects
- Expressions and Automation
- Expressions
- Expression basics
- Understanding the expression language
- Using expression controls
- Syntax differences between the JavaScript and Legacy ExtendScript expression engines
- Editing expressions
- Expression errors
- Using the Expressions editor
- Use expressions to edit and access text properties
- Expression language reference
- Expression examples
- Automation
- Expressions
- Immersive video, VR, and 3D
- Construct VR environments in After Effects
- Apply immersive video effects
- Compositing tools for VR/360 videos
- Advanced 3D Renderer
- Import and add 3D models to your composition
- Import 3D models from Creative Cloud Libraries
- Image-Based Lighting
- Extract and animate lights and cameras from 3D models
- Tracking 3D camera movement
- Cast and accept shadows
- Embedded 3D model animations
- Shadow Catcher
- 3D depth data extraction
- Modify materials properties of a 3D layer
- Work in 3D Design Space
- 3D Transform Gizmos
- Do more with 3D animation
- Preview changes to 3D designs real time with the Mercury 3D engine
- Add responsive design to your graphics
- Views and Previews
- Rendering and Exporting
- Basics of rendering and exporting
- H.264 Encoding in After Effects
- Export an After Effects project as an Adobe Premiere Pro project
- Converting movies
- Multi-frame rendering
- Automated rendering and network rendering
- Rendering and exporting still images and still-image sequences
- Using the GoPro CineForm codec in After Effects
- Working with other applications
- Collaboration: Frame.io, and Team Projects
- Memory, storage, performance
- Knowledge Base
You animate mask paths and shape paths in much the same way that you animate other properties: set keyframes for the Mask Path or Path property, set paths at each keyframe, and After Effects will interpolate between these specified values.
Rotoscoping introduction and resources
Rotoscoping (commonly known as roto) is the drawing or painting on frames of a movie, using visual elements in the movie as a reference. A common kind of rotoscoping is tracing a path around an object in a movie and using that path as a mask to separate the object from its background. This allows you to work with the object and the background separately, so you can do things like apply different effects to the object than to its background or replace the background.
After Effects includes the Roto Brush and Refine Edge tools, which can be used to accomplish many of the same tasks as conventional rotoscoping, but in far less time. For information about using the Roto Brush tool, see Roto Brush, Refine Edge, and Refine Matte.
If a background or foreground object is a consistent, distinct color, you can use color keying instead of rotoscoping to remove the background or object. If the footage was shot with color keying in mind, color keying is much easier than rotoscoping. (See Keying introduction and workflow.)
Rotoscoping in After Effects is mostly a matter of drawing masks, animating the mask path, and then using these masks to define a matte. Many additional tasks and techniques make this job easier, such as using motion tracking on the object before you begin drawing masks, and then using the motion tracking data to make a mask or matte automatically follow the object.
Rotoscoping tips
- Immediately after beginning to draw a mask, press Alt+Shift+M (Windows) or Option+Shift+M (Mac OS) to turn on keyframing for that mask and set a keyframe. This way, you won't edit a mask frame-by-frame for several minutes (or longer) and then realize that you lost all of your work on previous frames because you forgot to click the stopwatch to make the mask path animated.
- Draw your masks on a white solid layer with its Video (eyeball) switch off, above the (locked) footage layer. This way, you run no risk of accidentally moving the footage layer when you manipulate the mask, and you can also much more easily apply tracking data to the mask. (You apply the tracking data to the invisible solid layer that holds the mask.) This also means that you don't lose your cached preview frames each time you manipulate the mask. (See Toggle visibility or influence of a layer or property group and Lock or unlock a layer.)
- Turn on the Preserve Constant Vertex Count preference. (See Designate the first vertex for a Bezier path.)
- When possible, transform (rotate, scale, move) the whole mask or a subset of the mask vertices instead of moving the vertices individually. This is both for efficiency and to avoid the chatter that comes from inconsistent movement across frames. (See Move vertices in free-transform mode.)
- Manual motion tracking is less time-consuming than manual rotoscoping. The more effort you spend getting good tracking data for various parts of your scene and object, the less time you'll spend drawing and fine-tuning masks. (See Tracking and stabilizing motion.)
- Use the variable-width mask feather feature for more control when feathering objects.
View mask paths and shapes
- To view mask paths for selected layers in the Timeline panel, press M.
- To view selected masks or shapes in the Timeline panel, press SS (press the S key twice).
- To view mask and shape paths in the Composition panel, click the Toggle Mask And Shape Path Visibility button at the bottom of the Composition panel.
- To view mask paths in the Layer panel, choose Masks from the Layer panel View menu.
- To hide a mask path while showing others, lock the mask by selecting its Lock switch in the Timeline panel, and then choose Layer > Mask > Hide Locked Masks.
- To isolate selected masks and hide others, choose Layer > Mask > Lock Other Masks, and then choose Layer > Mask Hide Locked Masks.
Select shape paths, shapes, and shape groups
You can select shape layers and their components at any of four levels of selection, referred to as selection modes:
Layer selection mode
The entire shape layer is selected. Transformations apply to the transform properties for the layer, in the Transform property group that is at the same level as the Contents property group.
Group selection mode
An entire shape group is selected. Transformations apply to the transform properties for the group, in the Transform property group within the shape group in the Timeline panel.
Free-transform mode
Multiple vertices on one or more Bezier paths are selected. A free-transform bounding box is shown around the vertices in the Composition panel. By operating on this box, you can move multiple vertices with a single transformation. Transformations apply to the vertices themselves, which are contained within the Path property in the Timeline panel.
Path-editing mode
Only vertices are selected. In this mode, you can perform path-editing operations, such as adding vertices to a path and moving individual vertices.
When a pen tool is active, path-editing mode is active. To remain in path-editing mode, select the Pen tool; press V or Ctrl (Windows) or Command (Mac OS) to temporarily activate the Selection tool as needed.
A. Layer selection B. Group selection C. Free-transform D. Path editing
For information on selecting masks, see Select masks, segments, and vertices.
Press Ctrl+A (Windows) or Command+A (Mac OS) with a shape vertex selected to select all vertices on that path. Press again to select all shapes. Press again to select all layers.
Select a shape layer
- Click the layer name or layer duration bar in the Timeline panel.
- Using the Selection tool, click within the layer bounds in the Composition panel.
- To deselect all shapes on a layer but leave the shape layer selected, click within the layer bounds but outside all shape paths.
Select a shape group in group selection mode
- Using the Selection tool, double-click a member of the group in the Composition panel. Each time that you double-click, you descend another level in the group hierarchy.
- To activate the Direct Selection tool , hold Ctrl (Windows) or Command (Mac OS) with the Selection tool selected. Click a shape in the Composition panel with the Direct Selection tool to directly select that shape's group, regardless of how deeply nested the shape is in the group hierarchy.
- To select a group that is contained within the same group as the group that is already selected, click the group to select.
- To add a group to a selection, Shift-click it. You can combine the Shift key with double-clicking and with the Direct Selection tool to add more deeply nested groups to the selection.
Select paths and vertices in path-editing mode
To specify the size of Bezier direction handles and vertices for masks and shapes, choose Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS), and edit the Path Point Size value.
- To select a vertex, click the vertex with the Selection tool. To add vertices to the selection, Shift-click them.
- To select a path segment, click the segment with the Selection tool. To add segments to the selection, Shift-click them.
- To select an entire path, Alt-click (Windows) or Option-click (Mac OS) a segment or vertex of the path with the Selection tool, or select any portion of the path and press Ctrl+A (Windows) or Command+A (Mac OS).
- To select vertices by dragging, select a path or portion of a path to enter path-editing mode, and then drag with the marquee-selection tool to draw a marquee-selection box around the vertices to select. To add vertices to the selection, hold down the Shift key as you draw additional marquee-selection boxes.
Select all points on a path and enter free-transform mode
- Double-click a path segment while in path-editing mode or in group selection mode for a single shape.
- Select the Path property in the Timeline panel and press Ctrl+T (Windows) or Command+T (Mac OS).
Select masks, segments, and vertices
Unlike layers, masks can have more than one level of selection. You can select a mask as a whole path, which is appropriate when you want to move or resize a mask. However, if you want to change the path of a mask, select one or more points on it. Selected points appear solid, and unselected points appear hollow.
To specify the size of Bezier direction handles and vertices for masks and shapes, choose Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS), and edit the Path Point Size value.
Select or deselect masks in the Layer or Composition panel
- To select a vertex on a mask, click the vertex with the Selection tool . To add vertices to the selection, Shift-click them.
- To select a mask segment, click the segment with the Selection tool. To add segments to the selection, Shift-click them.
- To select an entire mask, Alt-click (Windows) or Option-click (Mac OS) a segment, vertex, or handle of a mask with the Selection tool, or select any portion of the mask and choose Edit > Select All or press Ctrl+A (Windows) or Command+A (Mac OS). To add masks to the selection, Alt+Shift-click (Windows) or Option+Shift-click (Mac OS) them.
- To select masks by dragging, select a mask or portion of a mask to enter mask editing mode and then drag with the Selection tool to draw a marquee-selection box completely around the vertices or masks that you want to select. To add masks or vertices to the selection, hold down the Shift key as you draw additional marquee-selection boxes.
- To select all masks on a layer, select a mask on the layer, and choose Edit > Select All or press Ctrl+A (Windows) or Command+A (Mac OS).
- To deselect all masks, press Ctrl+Shift+A (Windows) or Command+Shift+A (Mac OS).
- To select an adjacent mask on a layer, press Alt+accent grave (`) (Windows) or Option+accent grave (`) (Mac OS) to select the next mask, or Shift+Alt+accent grave (`) (Windows) or Shift+Option+accent grave (`) (Mac OS) to select the previous mask.
- To deselect a mask, click anywhere other than on the mask.
- To remove a vertex or segment from a selection, Shift-click the vertex or segment.
To use the Selection tool when the Pen tool is selected, hold down Ctrl (Windows) or Command (Mac OS).
Select masks in the Timeline panel
Click the right arrow next to a layer name to expand it.
Click the right arrow next to the Masks heading to expand it, revealing all masks on that layer.
Do any of the following:
- To select one mask, click its name.
- To select a contiguous range of masks, Shift-click the names of the first and last masks in the range.
- To select discontiguous masks together, Ctrl-click (Windows) or Command-click (Mac OS) the names of any masks you want to include.
You can select only whole masks in the Timeline panel. To select individual vertices on a mask, use the Composition or Layer panel.
Lock or unlock masks
Locking a mask prevents you from selecting it in the Timeline, Composition, and Layer panels or setting it as a target in the Layer panel. Use this feature to avoid unwanted changes to the mask.
In the Timeline panel, expand the Masks property group.
In the A/V Features column, click the box underneath the Lock icon next to the mask you want to lock or unlock. A mask is locked and cannot be selected when its Lock switch is selected—that is, when the Lock icon appears in the box.
To unlock multiple masks at one time, select one or more layers and choose Layer > Mask > Unlock All Masks.
To isolate selected masks and hide others, choose Layer > Mask > Lock Other Masks, and then choose Layer > Mask Hide Locked Masks.
Move vertices in free-transform mode
You can scale and rotate an entire mask or shape path (or selected vertices in one or more paths) using the Free Transform Points command. When you use this command, a free-transform bounding box surrounds the selected vertices, and an anchor point appears in the center of the bounding box to mark the anchor point for the current transformation. You can scale and rotate the selected vertices by dragging the bounding box or its handles. You can also change the reference point from which the vertices are rotated or scaled by moving the bounding box anchor point. The free-transform bounding box handles and anchor point exist independently of the handles and anchor point for the layer.
When you animate rotation using Free Transform Points, the vertices of the mask are interpolated in a straight line from keyframe to keyframe. For this reason, the results may be different from what you expect.
Display the layer containing the paths that you want to transform in the Composition or Layer panel.
Using the Selection tool, do one of the following:
- To transform any number of vertices, select the vertices that you want to transform and choose Layer > Mask And Shape Path > Free Transform Points.
- To transform an entire mask or shape path, select it in the Timeline panel and choose Layer > Mask And Shape Path > Free Transform Points.
To move the anchor point of the bounding box, place the Selection tool over the bounding box anchor point until the Selection tool changes to a move anchor point icon . Drag to position the anchor point.
Do any combination of the following:
- To move the path or selected vertices, position the pointer inside the bounding box and drag.
- To scale the path or selected vertices, position the pointer on a bounding box handle and, when the pointer changes to a straight, double-sided arrow , drag to a new size. Hold down Shift as you drag to constrain the scale. Hold down Ctrl (Windows) or Command (Mac OS) as you drag to scale around the anchor point of the bounding box.
- To rotate the path or selected vertices, position the pointer just outside the free-transform bounding box and, when the pointer changes to a curved double-sided arrow , drag to rotate.
To exit free-transform mode, press Esc, Enter (Windows), or Return (Mac OS).
Convert a path between manual Bezier and RotoBezier
You can convert any manual Bezier mask path or manual Bezier shape path to a RotoBezier path. If the manual Bezier path has direction handles that have been adjusted, this conversion changes the shape of the path, because After Effects calculates the curvature of RotoBezier segments automatically.
The conversion of a RotoBezier path to a manual Bezier path does not change the shape of the path.
Select a mask in the Layer, Composition, or Timeline panel, or select a shape path in the Composition or Timeline panel.
Choose Layer > Mask And Shape Path > RotoBezier.
Modify a Bezier mask path or shape path
You can change a Bezier mask path using the Selection tool and pen tools in the Layer or Composition panel. You can change a Bezier shape path using the Selection tool and pen tools in the Composition panel.
The pen tools—Add Vertex, Delete Vertex, and Convert Vertex tools—are grouped with the Pen tool in the Tools panel. To reveal these tools in the Tools panel, click and hold the Pen tool in the Tools panel.
In most cases, the appropriate pen tool becomes active when you place the Pen tool pointer in a particular context. For example, the Delete Vertex tool becomes active when you place the Pen tool pointer over an existing vertex, and the Add Vertex tool becomes active when you place the Pen tool pointer over a path segment. To manually activate and cycle through these tools, press G.
When modifying a path, make sure that you click only existing vertices or segments; otherwise, you may create a new path instead.
Move, add, or delete a vertex
Do one of the following:
- To move a vertex, drag the vertex with the Selection tool .
註解:To temporarily switch from the Pen tool to the Selection tool, press V or Ctrl (Windows) or Command (Mac OS).
- To add a vertex to a mask, use the Add Vertex tool to click the segment between two existing vertices.
- To delete a vertex from a mask, use the Delete Vertex tool to click the vertex.
Adjust a path segment
Do one of the following with the Selection tool:
- Drag a vertex.
- Drag the direction handles extending from an adjoining smooth vertex.
- Drag a curved segment.
註解:Dragging a curved segment on a RotoBezier mask also moves the vertices.
Toggle a vertex between a smooth point and a corner point
Click the vertex with the Convert Vertex tool .註解:
To activate the Convert Vertex tool when the Pen tool is selected, hold down Alt (Windows) or Option (Mac OS).
Adjust the tension of a RotoBezier mask
If you want to adjust the tension of more than one vertex simultaneously, then select them.
Using the Convert Vertex tool , drag a vertex.註解:
To activate the Convert Vertex tool when the Pen tool is selected, hold down Alt (Windows) or Option (Mac OS).
The Adjust Tension pointer appears as you drag a vertex of the RotoBezier mask.
Clicking a vertex instead of dragging sets the vertex to a corner point (100% tension); clicking again sets the vertex to a smooth point (33% tension). Dragging up or to the right decreases the tension of the selection, increasing the curve of adjacent path segments; dragging down or to the left increases the tension of the selection, decreasing the curve of adjacent path segments.
註解:To view the tension value of a vertex, look in the Info panel as you adjust the tension.
Change a mask path numerically
Select the mask.
In the Timeline panel, expand the Mask properties.
Next to the Mask Path property, click the underlined word, and specify the changes in the Mask Shape dialog box.
Designate the first vertex for a Bezier path
To animate a path, After Effects designates the topmost vertex at the initial keyframe as the first vertex and numbers each successive vertex in ascending order from the first vertex. After Effects then assigns the same numbers to the corresponding vertices at all successive keyframes. After Effects interpolates the movement of each vertex from its initial position at one keyframe to the position of the correspondingly numbered vertex at the next keyframe. At any time during an animation, you can designate another vertex as the first vertex; this causes After Effects to renumber the vertices of the path. Renumbering vertices causes path animation to change, because After Effects then maps the new vertex numbers to the corresponding old vertex numbers still saved at successive keyframes.
When copying a closed path into a motion path, the vertex designated as the first vertex of the closed path is used as the beginning of the motion path. All motion paths are open paths.
Some shape path operations, such as Trim Paths, also use the first vertex as input to determine how to modify the path.
By default, when you add a vertex to a path, the new vertex appears on the path throughout the duration of the path but reshapes the path only at the time at which it was added. When you delete a vertex from a path at a specific point in time, the vertex is deleted from the path throughout the duration of the path. Prevent After Effects from adding and deleting vertices throughout the duration of the path by choosing Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS), and deselecting Preserve Constant Vertex Count When Editing Masks.
Note: Preserve Constant Vertex Count When Editing Masks is called "Preserve Constant Vertex and Feather Count when Editing Masks", in After Effects CC and CS6.
Create an animated path.
In the Timeline panel, move the current-time indicator to the point where you want to designate a new first vertex.
Select the vertex to designate as the first vertex.
Choose Layer > Mask And Shape Path > Set First Vertex.註解:
The vertex designated as the first vertex appears slightly larger than the other vertices in the Composition panel.
Animate a mask path with Smart Mask Interpolation
Smart Mask Interpolation provides a high level of control for creating mask path keyframes and smooth, realistic animation. After you select the mask path keyframes to interpolate, Smart Mask Interpolation creates intermediate keyframes based on settings you provide. The Info panel displays the progress of the interpolation and the number of keyframes created.
Choose Window > Mask Interpolation.
Select at least two adjacent mask path keyframes.
Set options in the Mask Interpolation panel, and then click Apply.註解:
To interrupt the interpolation process, press Esc. The Info panel indicates that the process has been interrupted and reports the number of keyframes created.
Keyframe Rate
Specifies the number of keyframes that Smart Mask Interpolation creates per second between the selected keyframes. For example, a value of 10 creates a new keyframe every 1/10 of a second. Choose Auto to set the keyframe rate equal to the composition frame rate, which appears in parentheses. Create more keyframes for smoother animation; create fewer keyframes to reduce render time.
註解:Regardless of the keyframe rate you choose, Smart Mask Interpolation always adds keyframes at the frame just after the first mask path keyframe and at the frame just before the second mask path keyframe. For example, if you interpolate between keyframes at 0 seconds and 1 second in a 30-fps composition with a keyframe rate of 10 keyframes per second, mask path keyframes are added at frame numbers 1, 3, 6, 9, 12, 15, 18, 21, 24, 27, and 29.
Keyframe Fields
Doubles the keyframe rate. When this option is selected, and Keyframe Rate is set to the composition frame rate, a keyframe is added at each video field. Select this option for animated masking for interlaced video. If this option is not selected, the mask may slip off the object that you are attempting to key out. For more information about fields in interlaced video, see Interlaced video and separating fields.
Use Linear Vertex Paths
Specifies that vertices in the first keyframe move along a straight path to their corresponding vertices in the second keyframe. Leave this option unselected if you want some vertices to interpolate along curved paths; for example, when the desired interpolation involves rotating parts. If this option is not selected, Smart Mask Interpolation creates a natural path for the mask.
Bending Resistance
Specifies how susceptible the interpolated mask path is to bending instead of stretching. A value of 0 specifies that, as the mask path animates, it bends more than it stretches; a value of 100 specifies that the mask path stretches more than it bends.
Specifies how strictly Smart Mask Interpolation matches vertices from one keyframe to another. A value of 0 specifies that a particular vertex in the first keyframe matches only the same-numbered vertex in the second keyframe. For example, the tenth vertex in the first keyframe must match the tenth vertex in the second keyframe. A value of 100 means that a vertex in the first keyframe can potentially match any vertex in the second keyframe. Higher values usually yield better interpolations; however, the higher the value, the longer the processing time.
Add Mask Path Vertices
Specifies that Smart Mask Interpolation adds vertices to facilitate quality interpolations. In general, Smart Mask Interpolation works best when the mask paths have dense sets of vertices. Also, a vertex on the first mask path cannot match the middle of a curve or straight-line segment on the second mask path, so sometimes you must add vertices before matching to produce the desired result. Smart Mask Interpolation does not modify the original keyframes. Only the new mask path keyframes computed by Smart Mask Interpolation have additional vertices.
The value you set specifies how finely the input mask paths are subdivided. Pixels Between Vertices specifies the distance, in pixels, between vertices on the larger perimeter mask path after subdivision. Total Vertices specifies the number of vertices on the interpolated mask paths. Percentage Of Outline specifies that a vertex is added at each indicated percent of the mask path outline length. For example, a value of 5 means that a vertex is added at each successive segment of the outline that represents 5% of the total perimeter. To use only the vertices that were on the path at the first frame, do not select this option.
註解:Smart Mask Interpolation may add vertices at existing vertex locations even if Add Mask Path Vertices is not selected. If two vertices on one mask path match a single vertex on the other, the single vertex is duplicated at the same location so that the segment between the two vertices shrinks to that location.
Matching Method
Specifies the algorithm that Smart Mask Interpolation uses to match vertices on one mask path to vertices on the other. Auto applies the matching algorithm for curves if either of the two selected keyframes has a curved segment; otherwise, it applies the polylines algorithm. Curve applies the algorithm for mask paths that have curved segments. Polyline applies the algorithm for mask paths that have only straight segments.
註解:The mask path keyframes added by Smart Mask Interpolation are polylines when Polyline Matching Method is selected, regardless of whether the input mask paths contained curved segments.
Use 1:1 Vertex Matches
Specifies that Smart Mask Interpolation creates a vertex on one mask path that matches the same-numbered vertex on the other mask path. On each of the input mask paths, Smart Mask Interpolation matches the first vertices, the second vertices, the third vertices, and so forth. If the two paths have unequal numbers of vertices, this action may produce undesirable results.
First Vertices Match
Specifies that Smart Mask Interpolation matches the first vertices in the two mask path keyframes. If not selected, Smart Mask Interpolation searches for the best first-vertex match between the two input mask paths.
註解:To ensure good results, make sure that the first vertices of the input mask paths match, and then select First Vertices Match.
Move a mask or pan a layer behind a mask
You can adjust the area that is visible through a mask by either moving the mask in the Layer or Composition panel or panning (moving) the layer behind the mask in the Composition panel. When you move a mask, the Position values of the masked layer remain constant, and the mask moves in relation to other objects in the Composition panel.
When you use the Pan Behind (Anchor Point) tool to pan a layer behind a mask, the position of the mask remains constant in the Composition panel but changes in the Layer panel. The Position values of the masked layer change in relation to the composition. As you pan past the edges of the layer frame, the Mask Path values on the layer also change. Using the Pan Behind (Anchor Point) tool saves steps; without it, you would have to change the Position and Mask Path properties of the masked layer manually. You can animate a layer panning behind another layer by setting keyframes for the Position and Mask Path properties of the masked layer.
Move a mask
Select the mask or masks you want to move.
In the Composition panel, drag the mask or masks to a new location. To constrain the movement of the mask or masks to horizontal or vertical, hold down Shift after you start dragging.
Pan a layer behind its mask
Select the Pan Behind (Anchor Point) tool in the Tools panel.
Click inside the mask area in the Composition panel and drag the layer to a new position.
Face tracking and mask tracking
You can use the mask tracker to transform a mask so that it follows the motion of an object (or objects) in a movie. For more information, see Mask Tracking.
You can also use the mask tracker to accurately detect and track human faces. For more information, see Face Tracking.
Expression access to path points on masks, Bezier shapes, and brush strokes
You can use expressions to read and write the x and y coordinates of path points, or vertices for:
- Layer masks
- Bezier shapes
- Brush strokes on the Paint and Roto Brush & Refine Edge effects.
The expression methods are similar to accessing path vertices via scripting. The expression method is named points() instead of vertices() for familiarity.
Access expression methods
You can access the expression methods using the following steps:
To create a solid layer, select Layer > Solid.
Once you create a solid, create a mask. Click Shape tool, for example, a polygon, and create a mask over the solid layer.
In the Timeline panel, twirl open the Mask properties and alt-click Mask Path.
The expression field is displayed. In the Timeline panel, click the Expression language menu and choose Path Property.
Select an expression method from the list of path point expression methods.
To learn more about the expression methods, see Expression access to paths points on shapes, masks, and brush strokes (expression reference).
Listed below are example expression methods of the following path objects:
- Layer mask paths: layer("Dark Gray Solid 1").mask("Mask 1").path or .maskPath
- Bezier shape paths: layer("Shape Layer 1").content("Shape 1").content("Path 1").path
- Paint effect stroke paths: layer("Dark Gray Solid 1").effect("Paint").stroke("Brush 1").path
- Roto Brush & Refine Edge effect stroke paths: layer("Dark Gray Solid 1").effect("Roto Brush & Refine Edge").stroke("Foreground 1").path
Tips to work with these expression methods:
- Point and tangent values are returned as an array of [x,y] number pair arrays for the coordinates of the vertices. Coordinate values are rounded to four decimal places.
- Point and tangent arrays start with the first vertex on the path. You can change the first vertex of layer mask paths and Bezier shape paths using the Layer > Mask and Shape Path > Set First Vertex command.
- Coordinates for layer mask path points are relative to the layer's origin in its upper-left hand corner.
- Coordinates for Bezier shape path points are are relative to the anchor point of the path's shape group (ex., "Transform: Shape 1 > Anchor Point").
- Coordinates for brush stroke path points are relative to the start of the stroke; the first point is [0,0].
- The toComp() method, or other layer space transform methods, can be useful to convert coordinates from different layers into a common space or simply return the coordinates relative to the composition space.
- Because Bezier shape paths are relative to the anchor point of their local shape group and not the layer, their values may be offset from where you expect them to be. To work around this, set all Transform properties in the shape group to zero. Keep in mind that converting a parametric shape to a Bezier shape may affect the shape group's position.
- The createPath() method can be passed points, tangents, and isClosed methods of the same path or other paths. You can pass these methods unchanged to duplicate a path, or transform the point and tangent values before passing them to modify or animate the path.
Create Nulls from Paths panel
Create Nulls From Paths scriptUI panel allows you to create intuitive animations driven by expressions, without manually writing expressions. You can directly link different paths to shapes, shapes to solids, etc. The Create Nulls From Paths panel uses expression access to path points to automatically link the nulls, so that you don't have to write the expression yourself.
The panel creates nulls for each path point on a mask path or Bezier shape path. You can use the following buttons in the panel to direct how the nulls perform:
- Points Follow Nulls: The button creates nulls that control the position of path points. The path points are attached to nulls and you can animate the nulls to drive the path points.
- Nulls Follow Points: The button creates nulls that are controlled by the position of path points. The nulls are attached to path points and you can animate the path points to move the nulls.
- Trace Path: The button creates a single null that follows the path. The position of the null is linked to the coordinates of the path. The rotation of null auto-orients to follow the path. Trace Path controls the movement of the null along the path and whether it loops. By default, keyframes are set to trace the path in 1 second, and loop is enabled.
Work with the panel
To open the panel, select Windows > Create Nulls From Paths.jsx.
To add a shape mask, select Layer > New > Shape Layer. Add a shape mask to the layer.
註解:The panel works with Bezier shapes, so all the parametric shapes such as rectangle, ellipse, and star, must be converted to a Bezier shape. To convert a parametric shape to Bezier shape, twirl open the shape layer and right-click the shape path for example, Rectangle 1, and select Convert To Bezier Path.
Repeat step 2 to add more shapes.
Every Bezier shape and mask has a path. In the Timeline panel, twirl open the layers to view the paths. If you want nulls to follow path points, select a path in the Timeline panel, and click Nulls Follow Points in the Create Nulls from Paths panel.
The script generates a null for every point on the path. You can delete any nulls you don't need.
註解:When you convert a parametric shape to a Bezier shape, After Effects adjusts the Position property of the shape. This causes an offset when the position of the nulls is calculated. To avoid the issue, set the value of the Transform property of a shape such as Transform: Ellipse 1 to zero before creating nulls.
If you want the path points to follow nulls, select a path in the Timeline panel. And click Points Follow Nulls in the Create Nulls From Paths panel.
Once you create nulls for all path points, you can attach them with each other to create animations. Nulls created with Points Follow Nulls button and nulls created with Nulls Follow Points have different colors. To attach nulls, select a null and hold down Shift as you use the pickwhip to select a parent layer and have the null's coordinates to jump to the parent layer.
After you attach all the nulls together, preview your animation to see how it works.


text:
Once again we flash between 2 different time periods and do not focus on any particular character this time around. As suspected we have some people on the Island in 2007 and the rest are stuck in 1977, the Glory Days of the DHARMA Initiative. In 2007, we uncover more of what happens to Ajira Flight 316 and the passengers that remained on the plane. In 1977 we continue where we left off last episode as Sawyer meets up with Jack, Kate, Hurley and Jin. And off we go to that mysterious Island we know and love!
- The co-pilot informs Frank that he recognizes Hurley as one of the Oceanic 6 and states that he must have nerves of steel to get back on a plane.
- Then the turbulence begins. They turn off the auto-pilot.....then the FLASH happens.
- It would seem that the flight FLASHED to the Island as well wouldn't it? It was all of a sudden daytime after the flash and the Island was in sight. There have been many rumblings out there that maybe the Island doesn't move through space at all, just time. Perhaps these windows to get to the Island have nothing to do with WHERE the Island is. It could just be a matter of passing through the window when it is open to get to the stationary Island. And if that's the case, we could tie flight 815 and the Nigerian Plane both to this theory. As for water arrival, that may be different story all together (Rousseau, Desmond, Freighter, Black Rock).
- Anyway, the plane seems to have lost power in the flash but they are able to power back up enough to get the thing in somewhat flying shape to land. At this point I screamed out "LOOK FOR THE RUNWAY!!!!!" And sure enough, they found it! This finally settles the debate that some out there were STILL saying there was no runway for the plane to land on. We see a DIRT PATH paved for a plane to land. We learned in season 3 that Sawyer and Kate's hard work breaking rocks (for those dreadful 6 episodes) was all for building a runway. Was the runway a task set forth from Jacob as he knew that the Ajira flight would land there? If so, we can still speculate that Jacob just may be Locke from the future. But we shall see one of these days!
- While the plane is heading down, you can hear The Numbers 4 8 15 16 23 42 being recited over their radio. What is THAT all about????
- We find out that Sun is still on the plane as suspected. We find out that Caesar and Ilana do not know each other (he called her "Lady").
- We find out Ben was not hurt from the crash as he confirms that Jack, Kate, Hurley and Sayid are all gone. And asks how he can possibly know where they are. Ben says a lot of other things in this episode that I want to believe to, but I just give up on that guy!
- Sun is clutching Jin's wedding ring hoping to find him. Ilana exchanges some pleasantries with Sun.
- Frank takes charge tells everyone to stay calm and stick together until they get rescued. We've been here before and are bored for a second! Frank plays dumb to where they are to all of the newbies.
- Caesar makes mention of a few things to Frank that triggers Ben to know they're on Hydra Island. He sneaks away. Sun follows....and Frank is not far behind.
- Ben informs Sun that he is going back to "OUR" Island and invites her along. He claims that he does not know where Jin is, but considering we know more about Ben's past, perhaps he does!
- We learn that the 3 Outriggers DO belong to The Others. I'm not sure why Juliet would claim not to know they existed a few episodes back if that was the case. I am going to choose not to look into this one!
- Frank arrives and warns that Ben is dangerous and recaps the Freighter with mercenaries coming all with the mission to kill Ben. Loved Ben's response "How did that work out?" As we know, the OTHERS took care of the mercenaries. And well....Ben took care of Keamy.
- Ben suggests there are supplies that can help at the DHARMA Barracks that are not far from the dock.
- And once they get that information SUN, who claims she had to trust Ben, slammed Ben on the head with an OAR! THWACK!!!! "I Lied" niiiiiice! So next time we see Ben he will probably get a nice wake up call from Locke.
Back to the Island
- Frank and Sun take an outrigger to the Island and head to the barracks.
- They did encounter Smokey for a second. (or heard it) Frank has never seen the monster. I don't think Sun as "SEEN" it either but she definitely knows of its existence, but doesn't alarm Frank about it.
- When they get to the abandoned barracks, we begin to hear whispers....then a LIGHT pops on in one of the houses. It's Christian Shephard! Well, he is just appearing to everyone now it seems. I don't have enough more information here to speculate about what's going on with him at the moment. So we take it for what it is. A Ghost that can hold babies and turn on lights and appear in different times, off the Island and on the Island and on the Freighter and can talk to anyone he pleases! Is Locke the same as HIM now? or different somehow? Stay Tuned!
- Sun tells Christian she is looking for her husband. Christian brings them inside and shows them pictures of the DHARMA Recruit Classes. They come across 1977 and we see Jack, Kate and Hurley in the picture. He tells them that they have a bit of a journey ahead of them. Hmmmmm are Sun and Frank going to travel back in time TO them?
- We're not quite there yet, but you may want to take a look at these 2 pictures (the photo and the live TAKING of the photo). Our image experts over at lost.cubit.net have identified that there is a MISSING person in the LIVE shot (see #4). However, if you look even closer at the circled place in the LIVE shot. You can still make out a FOOT in there. What's going on here? Could be just a mess up in the filming. Or we could be meant to think that there is some altering with TIME going on. Even a Ghostly appearance in the picture! Very Marty McFly Back to the Future disappearing Photo'ish! I'll leave it up to you to all theorize in the comments!
- Also, if you rewind the scene when Christian is showing the photo to Sun and Frank, the door swings open and there is a quick sighting of smoke. Now if you recall, when Christian appeared to Jack off Island in the flash forward, the smoke alarm went off. I mentioned that it was possible that it could be related to the Smoke Monster! Well, I'm throwing it out there again! It may not have been smoke at all, but it's worth noting!
- One more thing to note. Apparently, you may have only seen this on the HD Broadcast, but near the end of this scene, you can make out a woman standing in the room with Christian as well. Speculation is leading to this possibly being Claire! (Look behind Sun to the right in this photo.)
- Hurley breaks the tension and goes for a hug. "you're alive!!!" Sawyer goes for a nickname in return "Easy on the ribs Kong!" to which Hurley responds that he missed that. Good times!
- Friendly handshake follows between Jack and Sawyer. And then the awkward hug between Kate and Sawyer with shots of Jack's "what can I really do? It's been 3 years." reaction.
- Sawyer asks how Locke got them to come back. They caught Sawyer and Jin up to the best of their knowledge that Locke was dead. Jack said it didn't matter how he died (didn't want to tell them it was suicide as he thought it was).
- Jin avoided explaining their current situation without Sawyer's help. They explain that it's 1977 and they've been working for DHARMA for 3 years. (Hurley's "WHAT???" reaction was priceless leading into the opening LOST title)
- Hurley's reaction to Jin's improved English was also a good time! So great to have them all together again!
- Kate reveals that it has been 3 years since they left the Island as well.
- Sawyer and Jin explain that they cannot be off grounds too long without reporting in because of the hostiles (others).
- Jack explains that they didn't come alone and that Lapidus, Sayid and Sun were on the plane too. Jin runs off to the FLAME station stating that if a Plane landed on the Island, Radzinsky would know!! (Recognize the name? Well I threw in a question in the last blog if we'd meet him and sure enough we did! He was Kelvin's hatch mate in the Swan prior to Desmond. He eventually blows his brains out leaving Kelvin to push the button alone. There was speculation that Hurley was going to turn out to be Radzinsky. No such luck folks! But I guess there's nothing saying that Hurley won't provide him with the numbers (4 8 15 16 23 42) to program into the hatch computer!)
- Sawyer panics as he thinks they need to slow down and think things through (a theme that we will revisit a little later). He tells the rest of them to stay put until he figures out a way to explain where they came from.
- Kate asks who else is there besides him and Jin. Naturally, we cut away without hearing Sawyer's answer. But the story cuts to Juliet and Miles...
- Juliet heads to Security Station and requests Miles' help for finding Sawyer who took off without any explanation. They find out he has returned to the Barracks.
- Sawyer catches Juliet up. She definitely didn't react well to their return as she probably was just getting used to be happy and in love with Sawyer! But she was the one that came up with the plan. The sub was coming in with new recruits that day. Jack, Kate and Hurley will be 3 of them!
- There is a short scene between Juliet and Amy where Juliet grabs the Sub manifest stating that she didn't want Amy working during her recovery from giving birth.
- We find out that they named the baby ETHAN. This was a popular speculation and based on the timing, probably one of the only options that really worked. (although I thought Ethan was older than 27 when 815 first crashed!) But this is intriguing. Ethan was originally a DHARMA guy then. So that kinda kills any theories that only Island Natives can come and go from the Island as they please. (I started to think that after we saw Tom "Mr. Friendly" off of the Island talking to Michael saying that "some of us can come and go") I guess there is the possibility that they really do take the Sub on and off of the Island. But that doesn't explain Richard going in the 50's pre-DHARMA. Unless, Richard is a Ghost-like dude just like Shephard and possibly Locke. Oh well, for now, we know Ethan was with DHARMA. So that begs the question, what side does Amy end up on when the PURGE happens? Ben tells Hurley in season 4 that he was "one of the ones" who were smart enough to join ranks with The Others before ending up in the DHARMA ditch. And if Ben had to kill his father. Perhaps Ethan had to kill Horace or Amy? Or maybe that's only a task for the one destined to become the LEADER of the Others? Ahhh, I'm rambling. We'll save the rest for the comments!
- Amy asks Juliet when she and Jim are going to have children. Juliet hesitates saying the timing has to be right. That could be two-fold with the Baby making issues on the Island (which we have to find out how that happens right?) and also with the return of Kate!
- While they wait for Sawyer's return, Kate fills the time by asking about Hawking and if she mentioned that they'd be arriving 30 years in the past. Jack says no and is wondering what they have to do there.
- Sawyer returns and catches the trio up with the plan and that it has to happen now. Another batch of recruits doesn't come for 6 months. Jack goes for a power play to try and think up another plan. Kate and Hurley decide they should listen to Sawyer "I vote for not camping!" It's going to be interesting to see how long Sawyer remains the one in charge. Clearly something will have to happen that will make Jack the "go to" guy again! But through the rest of this recap, we will see how Sawyer gets enjoyment over the current role reversal!
- Sawyer also explains how everyone is always knocked out for their Sub trip. So no one meets each other until they get here. Let's discuss this in the FLAME section below!
- On the DHARMA Van ride back to the Barracks, Hurley asks about warning the DHARMA people about the purge (I love how everyone just accepts the fact that they're in the 70's so quickly!).
- Sawyer has a great comeback about not playing Nostradamus for them. But then explained how Faraday had a theory about trying to change the past. (I wonder if this is the "what happened happened" theory or if something different happened when he decides to talk to Charlotte?) We find out that Faraday definitely is not with them anymore. So I wonder if the scene with Dan at the Orchid has already happened at this point? We didn't find out if Dan was dead, alive, with the others, transported to the future....so I'm guessing the reveal of what happened to him will be significant! Perhaps, Sun and Lapidus will run into him and then we will get a Dan-centric Flashback episode? Ahhhh me and my crazy theories!
- The Van arrives at the Barracks. The band Blue Image's "Ride Captain Ride" is playing to celebrate the arrival of the DHARMA recruits. Key lyrics include "mystery ship" and "others." I'm sure there is no significance other than irony!
- Sawyer explains the plan. Jack, Kate and Hurley's names have been added to the recruit list. They should go to the Meet and Greet, watch the video, put on their jumpsuits and take their work assignments.
- Hurley was paranoid that he would get quizzed on who the president is at the time. Sawyer ensured him that it wasn't a game show and that he has their back.
- Miles returns and questions the arrival of the 3, but there are bigger things to deal with. Duh, there's a 145 at the Flame! Sawyer talks to Jin via the walkie and finds out the have run into a hostile. Yep, it's Sayid (I skipped that story intentionally for the moment, so we'll get to it in a bit!)
- So we follow Jack, Kate and Hurley into the orientation. The video is the same one we saw during Ben's flashback episode in season 3 "The Man Behind the Curtain" when little boy Ben and his father "Roger Workman!" arrived on the Island.
- We finally get a name for the DHARMA guy from Mad Men. It's Phil (whew, that's easier!). He summons over "Jack Shephard" (hmmm, they didn't bother with aliases this time. Hopefully they don't do too much off-island research!)
- Jack meets Pierre Chang first-hand. (aka Marvin Candle, and various other waxy names!) Chang mentions that this is not is normal job but he was summoned from his lab to help. (probably because Amy was resting) He can't find all of the paperwork and blames it on everything being disorganized that day. He asks Jack who his shuttle driver was. Jack tells him LaFleur and that's good enough for him. We find out Jack's work assignment will be a "WORKMAN" aka DHARMA Janitor Jack can't help but smile because he knows Sawyer was behind it. So the big question...will Jack actually meet and worth with Roger Linus? I'd put money on it! There was an attack by the hostiles at one point during Ben's flashback episode. I wonder if we will actually see why that happened!
- Kate runs into a little trouble as Phil cannot find her on his list. Juliet saves the day, reluctantly!
- We will probably get more info on Kate and Hurley's jobs next week. But I am still guessing for now that Hurley will work with Radzinsky!
- Jin runs in and starts checking the radar logs. He wants to know if the plane landed. Radzinsky flips out a bit then tries to help him. Although he is confused at Jin's incessant need for the information.
- Radznisky hears back from The Looking Glass who said that there is nothing coming but the Sub. Remember the bluepring for the Looking Glass and how there was a spot on it for the Sub? I had theorized way back then that this was possibly how the sub was arriving to the Island. Remember, everyone is unconscious for the trip. Juliet was too. We have never seen the sub actually "arrive" to the Island and neither has any of its passengers which makes you think something crazy is going on. And considering how we now learned that aircraft are "TELEPORTED" (for lack of a better word) to the Island through these windows, perhaps the DHARMA sub is similar? Lots of questions on those water vehicles! I always wanted to see more of The Looking Glass station. That was quite a set they built for the season 3 finale. Seeing it for 2'ish episodes isn't enough. Give us more Looking Glass!
- Anyway, grid 325's motion censor went off with Hostile activity. Jin, hoping it's Sun, runs out to meet them. Long story short...It's Sayid! Jin quickly asks where Sun is. Sayid states that he doesn't know. Then Radzinsky arrives and Jin changes his tune. They both point their guns at him. He has to treat Sayid like a HOSTILE.
- After Jin's call to Sawyer, James rushes to the Flame station. Radzinsky explains that they have shoot him because he saw a model of the Swan station and sees where they are building it. Hmmmmm so perhaps the Swan WAS a mystery to The Others which is why Radz and Kelvin may not get purged. Well, Ben has to find out about it at some point, because he monitors them from The Pearl station with Juliet before he recruits Jack to do his surgery.
(Here's Radzinsky!) - By the way, Radzinsky's in-depth involvement with DHARMA and the maps of stations explains how he was able to draw the blacklight map of the stations in the Swan Hatch. By the way, reading that map again so many seasons later is a pretty good time! Things seem so much clearer!
- Sawyer gives Radz a great nickname of "Quickdraw" with his desire to kill Sayid. Instead, Sawyer relishes the chance to "interrogate" Sayid, similar to Sayid interrogating Sawyer in season 1. This time though? No torture involved.
- Apparently, terms of the truce are that Hostiles have to identify themselves as such or else they can be shot on sight. Sayid plays along.
- Back at the barracks we flash to the 1977 taking of the DHARMA Recruit picture. We discussed this in the 1997 section above.
- What we didn't discuss was the song playing during the Photo Event. Something about a "DHARMA LADY" ? Could this be the legendary Geronimo Jackson band that has become a household name since season 2? I've heard rumors that a Geronimo Jackson album would be available for sale in the real world at some point this season. And that one of the songs would be featured in an episode. I'm guessing this was what the producers were discussing! Sorry kids, I think I'm gonna have to pass on the album purchase. So you can let me know how it is whenever it goes on sale!
- Sawyer brings Sayid back to the barracks and takes him straight to the security station. Everyone sees Sayid though in the process. It's going to be a difficult sell to assimilate Sayid into the DHARMA crew!
- Sawyer gives Sayid a nod assuring him that he has it under control. And he tells Phil to get him some food.
- Jack wants to have a chat with Sawyer to catch up a bit. Love how Phil tells him not to call LaFleur JAMES. He hates it.
- Juliet answers the door. A nice cheesy hugging scene between those 2. But the killer part is when she tells him he didn't have the wrong house. She is marking her territory! (well, not from Jack...but you know what I mean!)
- Sawyer offers Jack a beer to which he declines. (I'm sure he loves drinking refrigerated and fresh DHARMA beer now!)
- Jack has many questions about their current situation, but starts with asking about Sayid. Sawyer says he's working on it. Jack starts questioning Sawyer's work ethic (reading a book). And Sawyer lets Jack have it!
- Sawyer explains his leadership style vs. Jack's. How Jack was more reactive than thinking things through (while reading books Winston Churchhill style) and how people ended up dead under Jack's lead. Jack retorts saying that he got people off the Island (good job Jack...all 6 of you plus Desmond!)
- Sawyer says he is going to go back to reading his book. It's how he saved Jack today and how he'll save Sayid tomorrow. Oooh burn!
- Can't have Jack and Sawyer being friendly for too long right? I love how they reintroduced the tension between them. That being said...there's no way Sawyer-in-charge can last. Some event has to happen to put Jack back in control. Maybe it will be a surgery that needs to be performed. Maybe something entirely different. But, as Jack told Sawyer in season 2 "when I want the guns, I'll get the guns!" For now, this dynamic should be a fun one to watch!
- After Jack leaves, Sawyer stares at Kate across the way, but then retreats back to his home with Juliet. Stay tuned for more drama there!
Sayid is hungry again!
As we all know from Sayid's reaction to the lima beans on the freighter, you do not want to give the man bad food! It makes him very disgusted! Fortunately, someone comes to his rescue with food that is a step up from the beans.
- A little boy arrives to bring Sayid a sandwich. Sayid gladly accepts. The boy asks if Sayid is a hostile. Sayid asks what he thinks? The boy asks for Sayid's name. He gives it. Sayid asks for the boy's name....we see his face. "BEN" Nice to meet you Ben!
Other questions that arise from this. Ben is aware of Sayid, Jack, Kate and Hurley from 1977. Did the 2004/2007 version of Ben have this knowledge? If so, then he DOES know what happened to all of them. He always knew that they had to go back to the Island if they left. And...is that how they had all of the information about Sayid and Jack that we found out in season 3. Because they have been following their lives since way back when? Same with John Locke?
Loads of questions that time travel can bring! We can sort them out in the comments below. I think I've gotten a little too wordy once again so I will say my goodbyes! Another fantastic episode of LOST in the history books. Hope you enjoyed my ramblings and I look forward to hearing yours! And it couldn't be more appropriate than after this episode to say...NAMASTE!
This blog is also posted on Gather.com. Feel free to check it out and send some votes my way! You may also stumble upon additional discussions there!
Special thanks as always to Sledgeweb for providing awesome screen shots on their site.

subset: commoncrawl


text:
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Biofumigation in wine grape vineyards could prove to be a natural, effective, and economical way to rid soils of pests and diseases while eliminating the growing disdain from policymakers over chemical fumigant use including methyl bromide.
Four Napa Valley, Calif., vineyard management companies and wineries are currently testing natural fumigation (biofumigation) in conjunction with holistic practices in 12 to 15-acre Cabernet Sauvignon wine grape vineyards under the guidance of Bob Shaffer, agronomist, Soil Culture Consulting, Glen Ellen, Calif.
The vineyard sites include: Chateau Montelena Estate, Calistoga; Far Niente Nickel and Nickel Estate, Oakville; Piña Vineyard Management's Sawyer Cellars, Rutherford; and Renteria Vineyard Management's Stice Lane Vineyard, St. Helena.
"Lowering pest populations with biofumigation, fallowing, cover crops, specifically amended composts, inoculants at vine transplanting, and balancing minerals increases the health of the soil plus pest resistance and tolerance in the vine," Shaffer says.
Biofumigation involves planting Brassica genus plants with high levels of glucosinolates which decompose into isothiocyanate to disrupt the life cycles of soilborne pests including plant parasitic nematodes, parasitic fungi, and weed seeds.
In the Napa Valley, the dagger nematode X. index is one such parasite that causes substantial damage to vine roots; not so much for feeding damage and related yield reduction, but for the transmission of the grapevine fan leaf virus.
"We're using a holistic approach before and during the replanting of fields where dagger nematodes are present in wine grape vineyards," Shaffer says. "The holistic view seeks to elevate the health of the vineyard's ecology, soil, and vines to create functional biochemical factors that favor vine health."
Rootstocks chosen for the test sites are based on producing high quality wine, not dagger nematode resistance, Shaffer notes.
Here's how biofumigation works: Fallowing a field for one to two years is best — and isn't mandatory, but provides more benefits, Shaffer says.
In a vineyard cleared for replanting, analyses of soil chemical and physical factors are conducted to determine actual soil pests and the mineral balance. If the soil's living microbial biomass weight is low, this means soil humus levels are low. It also indicates that inadequate carbon inputs exist, the mineral balance is off, slower decomposition is occurring, poor structure is present, and high populations of plant parasitic nematodes and parasitic fungi exist.
In the fall, the seed bed is planted with Brassica crops high in glucosinolate. In the spring, Brassicas are green manured 4 to 6 inches deep in the soil. A follow-up irrigation cycle speeds up the Brassica decomposition and aids microbes in the decomposition process. Gases released from the plant material can kill nematodes, weed seeds, and other disease organisms.
Shaffer says vineyard test results are yielding healthier vines and fewer dagger nematodes.
"The holistic farming plan is showing good vine growth, low or no presence of dagger nematodes, and noticeably improved soil structure," Shaffer says. "Biofumigation is elevating soil health while providing the vine with nutrients for improved pest tolerance and resistance."
Piña Vineyard Management is in its third year of biofumigation testing. "The results look promising," says John Derr, Piña viticulturist. "We're still evaluating this method to determine if this is the direction we want to go. I'm convinced that an organic route, not chemicals, is the most logical and environmentally-friendly path to prepare vineyard soils for new plantings."
Finding a better way to control soil issues is imperative to Piña Vineyard Management which plans to remove and replant 20 percent to 30 percent of its existing vineyards over the next 10 to 15 years. The company manages about 50 vineyards over 750 acres mostly in the Napa Valley, plus two vineyards in Sonoma County. They also develop or redevelop vineyards for about 70 clients.
"We'll never get rid of nematodes in this area. Nematode populations could remain in these soils for a thousand years or longer," Derr says. "Our goal is to manage nematodes so they don't rise above the economic threshold."
The nematode is the most numerous multi-cellular animal on the planet with thousands in a handful of dirt. The roundworms feed on plant roots by puncturing and sucking the cell contents with stylet needle-like mouthparts resulting in reduced vigor and yield. The plant parasite lives in soil and within or on plant tissues.
Shaffer emphasizes the biofumigation goal is not to eliminate every plant parasitic nematode in the soil. It's about improving soil health and suppressive factors, generating vine health, and increasing disease tolerance and resistance.
While it's too early to determine the actual costs of biofumigation, Shaffer says costs are equal or less than a year's application of conventional nematicide. Plus, the vineyard soil develops an ecology that lowers costs, improves economic yield, and sustains the vine's quality of production. Biofumigation is free of ties to environmental pollution, he says.
Biofumigation is successfully used in other crops including potatoes.
Shaffer, a lifetime farmer, has spent 30 years working with biological, organic farming systems in temperate and sub-tropical environments. Shaffer is working with Hawaiian farmers who face even greater plant parasitic nematode pressures than those faced in the Napa Valley.
He teaches a cover crop class at Napa Valley College where he's trained more than 100 students since 2002 on the use of cover crops, including the Brassica genus, in biofumigation. "Biofumigation is not a silver bullet," Shaffer says. "It's part of a holistic approach with many components not standardized to every site."
The only downside to biofumigation is the high skill level and experience in viticulture on the farmer's end to make biofumigation work, Shaffer explains.
Shaffer owns and operates Kona Keei Farm, a certified organic farm in Honaunau, Hawaii. His consulting practice includes 1,000 acres of grains, legumes, vegetables, fruit trees, spices, nursery crops, herbs, and forbs.
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Sticky Onion Marmalade Recipe
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Why I Love This Recipe
I'm a lover of Jams, Preserves, chutney. I made up a batch of onion marmalade over the weekend which was delicious and i wanted to share the recipe i used.
Ingredients You'll Need
4 Large white onions
3 Cloves of garlic
1 Red chilli
65 g Muscovado sugar
175 ml Balsamic vinegar
¼ Nutmeg (grated)
1 Clove (crushed)
1 tspn Paprika
Salt and pepper
Peel and thinly slice the onions and garlic. De-seed the chilli and slice.
Add a large knob of butter to your pan on a medium-low heat. Do not allow the butter to darken; when it starts to bubble, add the onions and stir.
Allow the onions to cook for 15-20 minutes on a medium-low heat until they become translucent. Add the chopped garlic and stir. Cook gently for a further 3 minutes. Do not allow your pan to get too hot at this stage as the onions will become crispy and the garlic will burn, giving your marmalade a bitter taste.
After three minutes, add the muscovado sugar to the pan and stir in thoroughly, coating all of the onions with sugar. As the sugar melts, the mixture should turn brown and become sticky.
With the onions evenly coated, you can now add the balsamic vinegar. Increase the pan to a high heat just before pouring in the vinegar, and stir your onions as you add the liquid. When your balsamic begins to bubble, reduce to a medium-low heat.
With your balsamic simmering, stir in the chopped chilli, paprika, nutmeg, crushed clove, and salt and pepper to taste. As the mixture begins to reduce, you can balance the flavours by adding more sugar or vinegar to the pan. You are looking for a perfect balance between a tangy initial flavour, and a sweet, spicy after-taste.
Gently cook away all of the residual liquid until you are left with a thick and sticky jam. Place your cooked marmalade into a clean air-tight jar and seal. Allow the jar to cool to room temperature before storing the onion marmalade in your fridge. It can keep for several months and is delicious served hot or cold.