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You don't have to rely on a movement inherent in your footage to create interesting animated track mattes. You can go ahead and animate or keyframe track matte elements as well. To do that, I am going to open up a new comp 10-Animated Matte*starter. It's another blank comp and I'll drag -in a couple more pieces of footage. I'll go ahead and drag in our fire that we had before, the Firestorm, center it in the background, and on top I am going to go ahead and put the thing called inkblot matte. It's this kind of an inkblot that we created for you.
It's much bigger than our composition. So I am going to go ahead and drag it to start, justify it down towards the bottom of the comp, and type P to reveal its Position. I'll enable keyframing for Position. Size it up the way I want it. Maybe I like it starting there. Press the N key to go to the end of my comp and drag it to its new location, maybe around here. Zero to RAM Preview and now I've got it sliding up the screen. Now that I've done that, I just need to create a normal track matte. I'll solo it.
Look at its Transparency. It does not have an alpha channel of its own. So instead I am going to need to use it as a luma matte. Turn off Solo switch and then for the layer underneath the Firestorm, which is the fill, I'll set the Track Matte pop up to Luma Matte. Now the fire fills inside the inkblot while the inkblot animates up the screen, just to create a more interesting composite. Obviously, there are variations on this theme we can create as well. But I want to just drive this on that one, you can go ahead and animate these elements individually if you want to and two, you can see why we like to take this composite and then treat it as a singular layer in another composition.
Again, it's much easy to treat as one layer than try to bring these two layers in, keep them together, and to keep their roles of transformations in sync as well.
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