[Blaise Douros]

Just select the clips in the timeline you want to change the gain on, right-click them, and select Audio Gain in the contextual menu. In the dialog that pops up, set the Gain to 0dB. This will reset the gain to its initial setting.

[Blaise Douros]

On Adjustment Layer 1, delete the masks for the left eye, and on Adjustment Layer 2, delete the masks for the right eye. That way each Adjustment Layer is only looking at one mask.

[Blaise Douros]

If it really came down to it, you could always just duplicate the adjustment layer, and use one instance for each eye. It looks like your tracking is already done, so it wouldn’t create any more work.

I’m not sure why the masks are interacting that way with the VC Color Vibrance effect, but why fight it if you can solve it with a simple workaround?

[Blaise Douros]

https://www.google.com/search?client=firefox-b-1-d&q=making+a+seamless+loop+in+after+effects

In particular, I like this one: https://www.youtube.com/watch?v=uI5mbXnuzq4

Just precompose your effect, duplicate it, and use it like footage. Works every time.

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[Blaise Douros]

This is done with a single Shape Layer object: you create a circle, and add a Repeater to it. Animate the first instance to move in a circular path, add a slight Rotation and Position adjustment in the Transform properties of the Repeater, and you’re off to the races.

Here’s an AEP with my quick re-creation.

https://f1.creativecow.net/14228/shape-layer-repeater-demo

Take some time to learn about Shape Layer Repeaters–they are incredibly powerful tools for creating expensive-looking motion graphic effects with almost no effort.

[Blaise Douros]

Without seeing the source, it’s hard to tell how accurate this is. Nailing the skin tone on the vectorscope doesn’t necessarily mean an image that is aesthetically pleasing.

Also, there are a number of tones present in human skin, including reds and yellows, so unless you’re going for a very flat look, I wouldn’t worry too much about what the vectorscope looks like if the image looks good. Your audience will never see the scope: just the image on screen. You should make decisions using the scope as a tool, rather than making decisions to make the scopes happy.

[Blaise Douros]

You’ll need to render the video to a format with an alpha channel, like ProRes 4444, PNG sequence, or Animation.

[Blaise Douros]

You can create the repeated lines with a variety of spatial offsets and/or use multiple copies to accomplish the randomized look. You’ll notice they’re all moving at the same speed, they’re just starting in different places.

[Blaise Douros]

Here’s what it looks like to me:

There are two of elements being used here: first, the lower-left-to-upper-right lines (LLTUR), which are building a solid matte to reveal the image, and second, the “decorative” motion elements which consist of the circular moving lines and the upper-right-to-lower-left ones.

The classroom itself looks like a static image, possibly pre-built and rendered as a PNG, though I have another theory about it, too. The floor line is a simple stroke effect.

Creating the LLTUR lines for the matte reveal of the classroom is probably being done in a simple shape layer with repeaters. This tutorial gives a pretty good overview: https://lesterbanks.com/2020/01/how-to-create-grids-with-a-shape-layer-repeater/

In this case, instead of creating a grid, you’d be using it to create a white-to-black matte with the LLTUR lines building up over time, and then using it as a luma matte to composite the classroom into place.

As for the decorative elements, I’m not sure what method is being used to color match them to the regions in which they end up, but they are likely created with similar methods.

[Blaise Douros]

Don’t use Warp Stabilizer. Use the Point Tracking stabilizer. The workflow might look like:

Stabilization Comp – use the Point Tracker and apply the track to the footage as stabilization.

Roto Comp – Bring the Stabilization Comp as a precomp into this one, and do your roto on the stabilized footage.

From here, you could do one of two things: Precompose the Roto Comp into a Final Comp. You’d then use the Point Track keyframes from the Stabilization Comp to restore the motion of the roto-ed footage from the Roto Comp.

Alternately, you would create an entirely new comp, and paste in the footage and track points from the stabilization comp. Then bring in the masking keyframes to a matte layer, from the Roto comp, and apply the Point Track keyframes to the matte so that instead of the footage being stabilized by the tracking data, the tracking data adds position/rotation to the matte.

Someone will probably have a more elegant solution, but these are the first ones that come to mind for me.