reference. 範例 You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

Examples You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background “spilled” onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get “spill” green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

Examples You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

Examples You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background “spilled” onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get “spill” green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

Examples You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background “spilled” onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get “spill” green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

reference. 範例 You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

reference. 範例 You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

Examples You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background “spilled” onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get “spill” green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

reference. 範例 You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block

reference. 範例 You can do just about anything with images using nodes. Raw footage from a foreground actor in front of a blue screen, or a rendered object doing something, can be layered on top of a background "spilled" onto the foreground object. If there is light from the side or back, and the foreground actor is wearing white, it is possible to get "spill" green (or blue) light from the background onto the Masks can be animated over the time so that they follow some object from the footage, e.g. a running actor. This can be achieved with shape keys or parenting the mask to tracking markers. Mask Data-block