The Reshape effect transforms one shape into another shape on the same layer, dragging the underlying image with it. The image is distorted to fit the shape of the new area. You create or import up to three masks to define the area you want to distort: the source mask, the destination mask, and the boundary mask (optional).

This effect works with 8-bpc and 16-bpc color.

Original including three masks (top left), and with variations of Reshape applied (bottom left and right)

By default, After Effects assigns the masks a function (source, destination, or boundary) based on the order in which you create or import them. You can also specify different masks. Use a closed path for each mask. All three masks must be on the layer to which you apply the Reshape effect, although you can copy masks from another layer.

Source Mask

The mask that contains the image area you want to reshape. If not specified, After Effects uses the second mask created as the Source mask. In the Composition and Layer panels, a red outline defines the source mask.

Destination Mask

The mask that determines the shape of the final image. If not specified, After Effects uses the third mask created as the Destination mask. In the Composition and Layer panels, a yellow outline defines the destination mask.

Boundary Mask

Specifies what part of the image is reshaped. Anything outside the boundary isn’t altered. If not specified, After Effects uses the first mask created as the Boundary mask. In the Composition and Layer panels, a blue outline defines the boundary mask.

Percent

The amount of reshaping. This value is useful for creating partial distortions that increase over time.

Elasticity

Specifies how closely the image follows the shape defined by the curve. Stiff acts like cold rubber, allowing the image to distort the least amount. Super Fluid acts like hot rubber, allowing the image to distort in a fluid fashion. The other settings fall between. The more fluid elasticity settings require more rendering time. If the final image doesn’t follow the curve as expected, use the following elasticity guidelines:

• In general, use the stiffest setting possible that doesn’t create a polygonal image. Use a higher elasticity setting if the final image looks polygonal but the curves are smooth.

• Use Stiff, Less Stiff, or Below Normal if the source and destination masks are similar in shape and have low curvature (few curved segments that change direction radically).

• Use Normal, Absolutely Normal, or Above Average if the source and destination masks are dissimilar and have mild curvature.

• Use Loose, Liquid, or Super Fluid if the masks are very dissimilar and have extreme curvature.

Correspondence Points

Specifies the number of points on the source mask that are associated with, or mapped to, points on the destination mask. These points appear in the Composition panel and control the interpolation of the distortion through space. To control the precision of the effect, you can add, delete, or move the points on either mask. A mask can have an unlimited number of points, but the more points it has, the longer the effect takes to render. If the distortion appears twisted, try adding more correspondence points at distinguishing points along the masks. (If the arc lengths of the curves between correspondence points are too different, twisting may result.)

Interpolation Method

Specifies how After Effects determines the distortion of each video or animation frame in the interval between keyframes or if no keyframes exist.

Discrete

Requires no keyframes because it calculates the distortion at each frame. Discrete produces the most accurate results but requires more rendering time.

Linear

(Default) Requires two or more keyframes and performs a straight-line interpolation between the keyframes. Linear produces steady changes between keyframes and sharp changes at keyframes.

Smooth

Requires three or more keyframes and approximates the distortion using cubic curves, producing distortions with graceful motion.