A mask morph transition transforms one shape into another while revealing a new scene.

A circle can expand into a full-screen reveal.

A logo can transform into a doorway.

A person’s silhouette can become a landscape.

A product outline can grow into the next shot.

A map region can transform into another geographic area.

Instead of relying on a conventional dissolve or wipe, the transition itself becomes part of the visual design.

The basic structure is:

Scene A → shape appears → shape transforms → Scene B revealed through shape → shape expands or disappears → Scene B

In Adobe After Effects, these transitions can be created using native tools including:

• masks;
• Mask Path animation;
• Shape Layers;
• Track Mattes;
• Set Matte;
• Alpha Mattes;
• Bezier paths;
• Feather;
• Expansion;
• Motion Blur;
• Easy Ease;
• Graph Editor;
• Turbulent Displace.

This tutorial starts with a simple circle reveal and progresses toward more advanced object-to-object morph transitions.

Affiliate disclosure: This article contains affiliate links. If you purchase Adobe After Effects through one of these links, we may earn a commission at no additional cost to you.

What Is a Mask Morph Transition?

A mask determines which part of a layer is visible.

Normally, you might use a mask to hide part of an image.

But if you animate the mask’s shape, it becomes a transition tool.

For example:

Start with a small circle.

Place Scene B beneath or inside it.

Expand the circle.

Scene B becomes increasingly visible.

Eventually the circle fills the entire frame.

Scene B completely replaces Scene A.

Now take the idea further.

Instead of simply expanding:

circle → square → irregular object → full screen

The mask itself becomes animated.

That’s a mask morph transition.

If you’d like to follow along, you can explore Adobe’s current After Effects options here:

Explore Adobe After Effects and current plans

Why Mask Morph Transitions Are Useful

Mask morphs are particularly useful for:

motion graphics.

brand videos.

product videos.

social media.

infographics.

travel videos.

presentations.

title sequences.

UI animations.

logo reveals.

map animations.

They can be:

clean.

minimal.

organic.

playful.

cinematic.

highly stylized.

The Basic Transition Structure

We’ll begin with two shots:

SHOT_A

and:

SHOT_B

Scene A is visible.

A shape appears.

Scene B becomes visible inside the shape.

The shape expands.

Scene B fills the composition.

Simple.

Step 1: Create the Master Composition

Create:

MASK_MORPH_MASTER

Suggested settings:

1920 × 1080.

30 fps.

10 seconds.

Import:

SHOT_A

SHOT_B

Place:

SHOT_A above or below depending on your matte structure.

Step 2: Create a Shape Layer

Choose:

Ellipse Tool

Create a circle in the center of the composition.

Rename:

MORPH_SHAPE

Step 3: Position Scene B

Place SHOT_B beneath the shape layer.

We’ll use the shape as a matte.

Step 4: Create the Matte Relationship

Use:

Alpha Matte

or the appropriate Track Matte setup.

Now Scene B should only be visible inside the circle.

Project 1: Circle Reveal

Start with a small circle.

Animate:

Scale:

0% → large enough to cover the entire composition.

Scene B gradually replaces Scene A.

This is the simplest mask-based transition.

PART 2 — CIRCLE-TO-SQUARE MORPH

Instead of simply scaling the circle, let’s change its shape.

Step 5: Create a Mask

Create a Solid.

Draw a circular Mask.

Rename the layer:

MORPH_MATTE

Step 6: Reveal Mask Path

Press:

M

or expand:

Mask → Mask Path.

Step 7: Create First Keyframe

At the beginning:

circle.

Create a Mask Path keyframe.

Step 8: Move Forward

Move approximately:

15–30 frames.

Step 9: Change the Shape

Modify the mask points until the circle becomes approximately square.

After Effects interpolates between the two paths.

Project 2: Circle-to-Square Transition

Scene B begins inside a circle.

Circle morphs into square.

Square expands.

Scene B fills screen.

Important: Matching Path Points

Morphing works best when the two paths contain compatible numbers and arrangements of vertices.

If one path has:

4 points

and another:

20 points,

the interpolation can behave unpredictably.

Keep Vertex Counts Similar

For clean morphs:

use matching or carefully planned vertices.

First Vertex Matters

After Effects uses the first vertex to determine how one path maps to another.

If the morph twists strangely:

adjust the first vertex.

PART 3 — SHAPE-LAYER PATH MORPHING

You can also animate:

Shape Layer → Path

This is often useful for graphic transitions.

Step 10: Create Shape Layer

Use Pen Tool.

Create:

triangle.

Step 11: Add Path Keyframe

Inside:

Contents → Shape → Path.

Enable animation.

Step 12: Change the Shape

Move forward.

Modify points into:

square.

Project 3: Triangle-to-Square

Triangle reveals Scene B.

Triangle morphs into square.

Square expands.

PART 4 — MULTI-SHAPE MORPH

Create:

circle → triangle → square → full screen.

This creates a more dynamic transition.

Timing Example

Frame 0:

circle.

Frame 8:

triangle.

Frame 16:

square.

Frame 24:

full-screen rectangle.

Add Easy Ease

Select path keyframes.

Press:

F9.

Use Graph Editor

Shape Path itself doesn’t behave exactly like Position or Scale in every context, but you can still refine timing using supporting properties such as:

Scale.

Position.

Rotation.

PART 5 — MOVING MASK TRANSITION

The mask doesn’t need to remain centered.

Animate:

Position.

For example:

small circle begins over a person’s face.

Then:

moves toward center.

expands.

reveals Scene B.

Project 4: Face-to-Landscape Reveal

Scene A:

person.

Circle appears around face.

circle moves.

morphs.

expands.

Scene B:

landscape.

PART 6 — OBJECT-BASED MASK

Instead of an abstract circle:

use the shape of an object.

Examples:

phone.

window.

door.

television.

book.

sign.

product.

Step 13: Draw Mask Around Object

Use Pen Tool.

Trace the object’s outline.

Step 14: Track Object if Necessary

If it moves:

animate mask manually.

or use tracking / rotoscoping.

Step 15: Place Scene B Inside

Use the object mask as the reveal.

Project 5: Phone Screen Transition

Scene A:

person holding phone.

Scene B appears inside phone screen.

Phone moves toward Camera.

screen grows.

Scene B fills frame.

PART 7 — WINDOW MORPH

A window is a natural rectangular matte.

Track the window.

Place Scene B inside.

As Camera approaches:

expand the matte.

Then morph it to full screen.

PART 8 — DOORWAY MORPH

Use the doorway opening as the initial mask.

Scene B appears behind it.

As Camera approaches:

doorway expands.

Eventually:

Scene B fills frame.

PART 9 — TELEVISION SCREEN MORPH

Track a TV screen.

Place new footage inside.

Then animate the screen shape until it becomes full-screen video.

PART 10 — LOGO MORPH TRANSITION

Brand shapes can create excellent transitions.

Suppose a logo contains:

circle.

triangle.

letter.

icon.

Use that shape as the matte.

Step 16: Convert Logo to Shape

Where appropriate:

create Shape Layer from vector artwork.

Step 17: Isolate Logo Path

Use it as:

matte.

Step 18: Reveal Scene B

Scene B appears inside logo.

Step 19: Expand Logo

Scale or morph until it fills the screen.

Project 6: Logo-to-Scene Transition

Logo appears.

Scene B visible inside logo.

logo expands.

Scene B becomes full frame.

This is especially useful for:

brand intros.

commercials.

corporate videos.

PART 11 — LETTER MORPH

Letters can become transition shapes.

Good letters include:

O.

D.

A.

P.

R.

Use their negative space.

Example

Large letter:

O.

Scene B appears inside.

O expands.

Scene B fills frame.

PART 12 — TEXT-TO-SHAPE TRANSITION

Create text.

Convert to Shape Layers.

Use selected letters as mattes.

Animate paths.

Project 7: Word-to-Scene Reveal

Text:

TRAVEL.

Letter A expands.

becomes transition portal.

destination footage appears.

PART 13 — SILHOUETTE MORPH

Use a person’s silhouette as a matte.

Step 20: Isolate Person

Use:

Roto Brush.

Mask.

Step 21: Create Matte

Scene B becomes visible inside the person’s silhouette.

Step 22: Expand Silhouette

Scale or morph the matte.

Project 8: Person-to-Landscape

Person standing against sky.

landscape appears inside silhouette.

silhouette expands.

landscape takes over.

PART 14 — FACE PROFILE MORPH

A profile can become a stylized reveal.

Trace:

forehead.

nose.

mouth.

chin.

Morph the outline into another shape.

This works particularly well in:

documentaries.

fashion.

artistic videos.

PART 15 — PRODUCT SILHOUETTE MORPH

Use the product’s outline.

Examples:

bottle.

phone.

shoe.

watch.

car.

Project 9: Product-to-Lifestyle Scene

Product appears.

Lifestyle footage appears inside product silhouette.

Product shape expands.

Lifestyle footage fills screen.

PART 16 — CAR WINDOW TRANSITION

Use:

windshield.

side window.

rear window.

as the matte.

Scene B appears through the vehicle.

This works well for travel sequences.

PART 17 — MAP REGION MORPH

Geographic shapes are excellent morph targets.

For example:

country outline.

state.

province.

region.

Step 23: Create Country Shape

Use vector artwork or mask.

Step 24: Reveal Data or Footage Inside

Scene B appears inside country.

Step 25: Morph or Expand

Country outline grows until it fills frame.

Project 10: Country-to-City Transition

Map of Netherlands.

country shape expands.

aerial footage appears inside.

shape fills screen.

city footage takes over.

PART 18 — COUNTRY-TO-COUNTRY MORPH

Morph:

Country A → Country B.

Use similar path point counts where possible.

This can create attractive geographic transitions.

PART 19 — MAP PIN MORPH

Start with:

location pin.

Morph into:

circle.

Then:

full screen.

Project 11: Location Reveal

Map.

pin appears.

pin expands.

destination footage appears inside.

destination becomes full frame.

PART 20 — CIRCLE PORTAL

Create a circular portal.

Scene B appears inside.

Add:

Glow.

soft edge.

distortion.

Then expand.

PART 21 — ORGANIC PORTAL

Instead of a perfect circle:

create an irregular shape.

Apply:

Turbulent Displace.

Animate:

Evolution.

The edge feels alive.

Project 12: Organic Landscape Portal

Scene A.

irregular portal opens.

Scene B visible inside.

edge moves organically.

portal expands.

PART 22 — INK-BLOT TRANSITION

Use Fractal Noise to create an organic matte.

Step 26: Create Solid

Apply:

Fractal Noise.

Step 27: Increase Contrast

Create black and white regions.

Step 28: Animate Levels

White regions spread.

Step 29: Use as Matte

Scene B appears through the expanding pattern.

Project 13: Ink Reveal

Small ink areas appear.

merge.

expand.

Scene B replaces Scene A.

PART 23 — LIQUID MORPH

Use:

Turbulent Displace.

Fractal Noise.

Blur.

Levels.

Create fluid-looking edges.

PART 24 — PAINT TRANSITION

Use animated brush strokes as mattes.

Scene B appears where the paint passes.

PART 25 — BRUSH-STROKE MORPH

Create Shape Layer strokes.

Animate:

Trim Paths.

Use the resulting artwork to reveal the next scene.

Project 14: Painted Scene Reveal

Brush stroke enters.

reveals part of Scene B.

additional strokes appear.

Scene B becomes complete.

PART 26 — GEOMETRIC TILE TRANSITION

Use multiple shapes:

circles.

squares.

hexagons.

Each becomes a matte.

Animate them sequentially.

PART 27 — MULTIPLE CIRCLES

Create many small circles.

Scale them from:

0 → large.

Offset timing.

Scene B appears through multiple expanding windows.

Project 15: Bubble Reveal

20 circles.

staggered animation.

circles expand.

merge.

Scene B fills frame.

PART 28 — GRID MORPH

Create grid of squares.

Animate:

Scale.

Rotation.

Position.

Reveal Scene B.

PART 29 — HEXAGON TRANSITION

Use honeycomb-style shapes.

Useful for:

technology.

science.

corporate graphics.

PART 30 — DIAGONAL SHAPE MORPH

Start:

triangle.

stretch into:

diagonal panel.

expand.

Reveal Scene B.

PART 31 — FULL-SCREEN PANEL MORPH

A small shape can transform into a full-screen colored panel.

Then the panel reveals Scene B.

This creates a clean graphic transition.

PART 32 — COLOR-MATCHED MORPH

Choose the matte color based on Scene B.

Example:

Scene B contains blue sky.

Use:

blue transition shape.

The color bridge helps smooth the edit.

PART 33 — BRIGHTNESS-MATCHED MORPH

If Scene A is dark and Scene B bright:

use a mid-tone transition shape.

Or animate brightness during the morph.

PART 34 — MORPH WITH MOTION BLUR

Fast-moving shapes benefit from Motion Blur.

Enable:

Motion Blur.

This makes:

Scale.

Position.

Rotation.

feel more natural.

PART 35 — MORPH WITH ROTATION

Animate:

shape path.

Rotation.

Scale.

simultaneously.

Example:

square rotates.

morphs into circle.

expands.

PART 36 — MORPH WITH ZOOM

Move the shape toward Camera while morphing.

Animate:

Scale.

Blur.

Position.

PART 37 — MORPH WITH SPIN

Combine with the previous spin-transition tutorial.

Shape rotates rapidly.

Morphs.

Scene changes during blur.

New shape settles.

PART 38 — MORPH WITH WHIP PAN

Move the matte quickly across frame.

Motion Blur hides path changes.

Scene B appears behind.

PART 39 — MORPH WITH OBJECT WIPE

An object crosses frame.

Its silhouette becomes the matte.

Then expands.

This combines physical and graphic transition techniques.

PART 40 — FEATHERING THE MATTE

A perfectly sharp edge can feel too digital.

Animate:

Mask Feather.

For example:

0 → 20 px → 0.

Use according to style.

PART 41 — MASK EXPANSION

Mask Expansion is useful when you want a shape to grow without manually moving every point.

Animate:

Mask Expansion.

This is especially useful for organic outlines.

PART 42 — ADDING GLOW

For portal-style transitions:

duplicate the matte.

add:

Glow.

Blur.

Place around the edge.

PART 43 — ADDING SHADOW

Graphic shapes can cast a shadow while moving.

This creates depth.

PART 44 — ADDING STROKE

Add a visible outline around the matte.

Animate:

Stroke Width.

Opacity.

Color.

Project 16: Graphic Brand Morph

Logo shape.

stroke appears.

Scene B visible inside.

shape rotates.

expands.

stroke disappears.

Scene B fills frame.

PART 45 — ADDING DEPTH WITH 3D LAYERS

Turn the shape into:

3D Layer.

Move it in Z space.

Add Camera.

Now the matte can appear to move toward the viewer.

PART 46 — CAMERA THROUGH A SHAPE

Create a large Shape Layer.

Scene B exists behind.

Camera moves toward opening.

Opening fills frame.

This creates a genuine spatial transition.

Project 17: 3D Portal

Scene A.

3D circular portal.

Camera approaches.

Scene B visible beyond.

Camera passes through.

Scene B becomes full frame.

PART 47 — PARALLAX AROUND THE PORTAL

Add foreground layers around the matte.

As Camera moves:

foreground shifts faster.

background shifts slower.

This increases depth.

PART 48 — DEPTH OF FIELD

Blur portal edge as Camera approaches.

This can make the transition more cinematic.

PART 49 — SOUND DESIGN

Mask morphs benefit from:

whoosh.

soft impact.

liquid sound.

digital morph.

brush sound.

Match Sound to Style

Geometric:

clean electronic whoosh.

Organic:

liquid or airy sound.

Paint:

brush texture.

Portal:

deep cinematic swell.

PART 50 — AUDIO BRIDGE

Begin Scene B ambience before the matte fully reveals it.

This helps connect the scenes.

Transition Timing

Typical durations:

6–12 frames: fast graphic transition.

12–24 frames: standard.

24–45 frames: cinematic morph.

1–2 seconds: slow stylized transformation.

Use the Graph Editor

Even if the path animation itself is complex, supporting properties should have controlled easing.

Animate:

Scale.

Position.

Rotation.

Opacity.

using smooth curves.

Build a Morph Controller

Create:

MORPH_CTRL

Add:

Transition Progress.

Scale Amount.

Rotation.

Feather.

Blur.

Glow.

Distortion.

One Transition Progress Slider

Use:

0% = Scene A.

50% = morph midpoint.

100% = Scene B.

This can control:

shape growth.

matte expansion.

blur.

Scene B opacity.

Build Presets

Create:

CIRCLE REVEAL

SQUARE MORPH

LOGO MORPH

ORGANIC MORPH

INK REVEAL

PORTAL

MAP MORPH

OBJECT SILHOUETTE

Project Organization

Create folders:

SCENE_A

SCENE_B

MATTES

SHAPES

PORTALS

ADJUSTMENTS

AUDIO

CONTROLS

Recommended Layer Stack

MORPH_EDGE_FX

MORPH_SHAPE

SCENE_B

SCENE_A

MORPH_CTRL

AUDIO

Common Mistake: Too Many Path Points

Simpler paths usually morph more cleanly.

Common Mistake: Vertex Order Is Wrong

Check the first vertex and point arrangement.

Common Mistake: Shape Twists During Morph

Reorganize path points.

Common Mistake: Transition Is Linear

Add easing.

Common Mistake: Matte Edge Is Too Sharp

Use Feather or Motion Blur when appropriate.

Common Mistake: Shape Doesn’t Cover Entire Frame

Make sure the final matte extends beyond all composition edges.

Common Mistake: Scene B Moves Unexpectedly

Separate matte animation from footage movement.

Common Mistake: Morph Has No Visual Motivation

Whenever possible, start from an object already present in Scene A.

Common Mistake: Too Many Effects

The shape transformation itself should remain readable.

Common Mistake: Sound Doesn’t Match

Use audio that reflects the transition style.

Basic Mask Morph Quick Recipe

1. Import Scene A.
2. Import Scene B.
3. Create Shape Layer.
4. Use shape as matte.
5. Reveal Scene B inside.
6. Animate Shape Path.
7. Match vertices.
8. Add Easy Ease.
9. Animate Scale.
10. Animate Position if needed.
11. Expand shape.
12. Cover entire frame.
13. Add Motion Blur.
14. Add Feather.
15. Add optional Glow.
16. Match color.
17. Add sound.
18. Preview.
19. Refine timing.
20. Render.

Circle Reveal Recipe

Use:

Ellipse.

Alpha Matte.

Scale.

Easy Ease.

Logo Morph Recipe

Use:

vector Shape Layer.

logo path.

Track Matte.

Scale.

Organic Morph Recipe

Use:

irregular path.

Turbulent Displace.

Feather.

animated Scale.

Ink Reveal Recipe

Use:

Fractal Noise.

Levels.

animated threshold.

Luma Matte.

Portal Recipe

Use:

circle or custom shape.

Glow.

3D Camera.

Scene B behind opening.

Map Morph Recipe

Use:

country path.

location shape.

Scale.

geographic footage.

Five Essential Mask-Morph Exercises

Exercise 1 — Circle Reveal

Learn the matte workflow.

Exercise 2 — Circle-to-Square

Practice Mask Path animation.

Exercise 3 — Logo Reveal

Use vector artwork as a matte.

Exercise 4 — Organic Morph

Add irregular animated edges.

Exercise 5 — Object-to-Scene Morph

Use a real object in Scene A as the transition shape.

Master these five exercises and you’ll understand the foundation of mask morph transitions.

Frequently Asked Questions

What is a mask morph transition?

It is a transition where an animated mask or Shape Layer changes shape while revealing another scene.

Can I morph masks in After Effects?

Yes.

Animate the Mask Path property between different shapes.

Why does my mask twist?

The vertex count, point order, or first vertex may not align correctly between the shapes.

Can I morph a circle into a square?

Yes.

Use compatible paths and animate Mask Path or Shape Path.

Can I use a logo as a transition?

Yes.

Vector logos can often be converted to Shape Layers and used as mattes.

Can I reveal footage inside text?

Yes.

Use text or converted text shapes as Track Mattes.

Can I use a person as a matte?

Yes.

Rotoscope the person and use the resulting silhouette.

Can I create an organic transition?

Yes.

Use irregular paths, Fractal Noise, Turbulent Displace, and Feather.

Can I create a portal transition?

Yes.

Reveal Scene B inside a shape and animate the shape until it fills the composition.

Can I use map shapes?

Yes.

Country and region outlines can become excellent geographic transition mattes.

Do I need plug-ins?

No.

The core techniques can be created using native After Effects tools.

Practice Project: Logo-to-Landscape Morph

Create:

MASK_MORPH_MASTER

at:

1920 × 1080.

Import:

SCENE_A — Logo Animation

SCENE_B — Mountain Landscape

Create or import:

vector logo.

Convert the logo to:

Shape Layer

where appropriate.

Use the logo shape as:

Alpha Matte.

Place the mountain footage beneath.

Initially:

mountain footage appears only inside the logo.

Animate:

logo Scale.

100% → very large.

At the same time:

animate selected Shape Paths if you want the logo to become simpler.

For example:

logo → circle → full-screen shape.

Add:

Easy Ease.

Use Graph Editor for Scale.

Enable:

Motion Blur.

Add:

small Feather or edge Blur.

Optionally create:

Glow

around the logo edge.

As the shape approaches full screen:

begin mountain ambience.

Once the matte exceeds all frame edges:

Scene B is completely visible.

Remove or fade:

edge effects.

The viewer should experience:

logo.

landscape visible inside logo.

logo morphs and grows.

landscape expands.

landscape becomes full frame.

That project teaches:

Shape Layers,

Track Mattes,

Mask Path animation,

vector morphing,

Scale animation,

Motion Blur,

edge treatment,

and:

audio bridging.

If you’d like to create these effects yourself, you can explore Adobe’s current After Effects options below:

Get Adobe After Effects and start creating mask morphs, Shape Layer transitions, animated mattes, logo reveals, and cinematic scene transitions

What Should You Learn Next?

After mastering mask morphs, the next logical technique is the liquid transition.

We’ll take the organic matte concept further and create flowing, fluid transitions using:

Fractal Noise.

Turbulent Displace.

Displacement Maps.

animated mattes.

liquid edges.

distortion.

ripples.

The next article will therefore be:

How to Create Liquid Transitions in Adobe After Effects: Fluid Wipes, Distortion, Ripples, and Organic Scene Reveals.

Final Thoughts

Mask morph transitions give you far more control than a conventional wipe.

Instead of simply moving a straight line across the screen, you can use almost any visual shape as the transition.

A circle.

A logo.

A person’s silhouette.

A window.

A map.

A product.

An irregular organic form.

The strongest transitions usually begin with something that already belongs in the scene.

That gives the animation visual motivation.

Use that object as the initial matte.

Transform it.

Expand it.

Reveal the next shot.

Once you understand Mask Paths, Shape Layers, Track Mattes, vertex alignment, and easing, you can build an enormous range of custom transitions without relying on third-party transition packs.

Explore Adobe After Effects and start creating professional mask morph transitions