[Andrew Bardusk]

It’s most likely from Keylights UBER crunchy spill suppression. You can turn off keylights color suppression and maintain your key by switching the viewing mode on the top of the plugin menu to “intermediate result”.

After that I would suggest using a Hue/Saturation and setting it to green and adjusting the threshold do so your spill suppression.

Hope I’m not repeating a suggestion that failed you earlier.

[Andrew Bardusk]

Yes, it’s view “intermediate result” and that keeps your key just the way it is, except it doesn’t do any color correction.

Personally I don’t like AE’s spill suppressor very much. What I find that works best is using “Hue/Saturation” then changing to “greens” Bringing the saturation down to 0. And thet you can adjust your threshold on the color bars.

[Andrew Bardusk]

If you have Saphire plugins “Jpeg Damage” would be worth considering.

Another thing you can do is create a gray solid, with all color and saturation set to 0 and brightness set to 50(if I recall correctly).

Then put a “noise” effect, turn it to 100 percent.

Then set you gray solid do “overlay”

Then adjust the opacity, and scale to make it look like big chunky compression.

[Andrew Bardusk]

No you didn’t misunderstand, and I totally agree with you.

I just wanted to explain it in a simple context so it was the easiest to understand.

[Andrew Bardusk]

Honestly it varies slightly shot by shot regardless if it’s HD or Film. The settings I have right now should be in the realm of normality, and they are.

Shutter Angle 180
Shutter Phase -90
Sample per frame 16
Adaptive sample limit 128

When tweaking them think of it like Shutter angle is the legnth or amount of motion blur, and shutter phase adjusts how much the blur is ahead or behind the moving object.

Anyone feel free to correct me if I’m wrong.

[Andrew Bardusk]

Yes unless you are particularly skilled in that area, doing it frame by frame would be difficult to manage.

What I would do is track the scar to her face. Apply the track to a null layer, and parent your scar to that null layer.

Then put a mesh warp on your scar, set a key frame on the first frame she starts to turn her head.

Then go to the frame where her head stops moving and warp the scar into place. The go the middle and warp that frame into place, same methodology as roto.

The key is to find little reference points on here face, for example lets say the bottom left corner of the scar just touches a mole she has on her cheek, so then you know to warp the bottom left corner there in future frames.

Good Luck!

[Andrew Bardusk]

That can be tough, because a lot of text presets actually use transformations exclusive to text layers.

First thing I’d try is using a text layer preset, then replace the footage in your timeline, by holding ALT and grabbing your image in the project window, and dragging it on top of your highlighted animated text layer.

[Andrew Bardusk]

Please provide more details.

Are you comping on footage that was shot slow mo?

Are you taking normal speed footage and doing a speed change in AE?

What are you concerned about exporting to FCP that’s particular to a “slow mo comp” than a regular comp?

[Andrew Bardusk]

Oh Boy, so I searched help to learn there is a live update button on the timeline and it was off…

RTFM geese

[Andrew Bardusk]

It is off. I’ve cycled through all of those settings.