Kalleheikki Kannisto
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COW Coin
Forum Replies Created
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Turn “Perpendicular to Path” off.
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Hi Trish,
In order to pin something to a moving image you will have to do motion tracking. There are several ways to do this in AE:
– The simplest one is using the 2D tracking points, which you will need two of, since the footage zooms in and out.
– AE comes with Mocha for AE which is a planar tracker that generally produces more solid (accurate) tracking results as it tracks a plane instead of one or two points
– There is a 3D camera tracker that recreates the original motion of the camera (which requires that the camera is actually moving through the shot.)Each has it’s own techniques. If you’re not familiar with them, you can find the information in the help files or by googling for a tutorial.
Use one of these methods to track the motion in the footage, apply the results to a null object, and then link (parent) the ground crack image to the null object.
This is a very abbreviated outline, but should point you in the direction of what techniques you need to know and use.
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… although, if the machine is spinning at reasonable speed, you may be lucky enough to only have to do the masking on the first round and then duplicate it for all consecutive revolutions.
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Definitely sounds like a nightmare shot to fix. I doubt there is any good automatic method for this case.
I would approach it by animating a mask by hand as tightly around the rope as possible and then showing a slightly displaced copy of the grass through it (or over it). You will probably have to also offset the image that shows through by manually keyframing (or by matching the offset to the rotation speed by an expression if you know expressions) to avoid the rope showing through the hole at some angles. In essence, I would try and cover up the rotating rope with a parallel slice of grass right next to the rope. You’ll need a moving mask for both ropes in any case.
Hopefully it is not a very long piece of footage.
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If the custom layer is generated with effects rather than a video or an image, it needs to be precomposed, moving all effects to the precomp.
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Although not apparent from the example, I would assume the graphics are generated as an audio spectrum. Not really all that familiar with that effect. My guess is that you would duplicate the layer and change settings so it outputs only the bass frequencies — maybe a low pass filter on a copy of the audio? Then you can do two things with that: control the glow amount (use “audio to keyframes” on the bass frequencies), and render only the bass frequency graphs.
Then again, the video doesn’t really show much motion in the graphs themselves, so probably not using animated audio spectrum.
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If I recall correctly, you’ll have to precomp the footage in a longer comp to get the full length to show up. So if you are slowing down the footage by 4X, you’ll have to make a comp that is 4 times longer and put the footage in the beginning. Then apply the effect to the precomped layer (not inside the comp).
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A roundabout solution, one that avoids the mathematical complexities of the problem, is baking in the keyframes, meaning generating a keyframe for every frame.
You can do this by adding the expression “value” to any property you want to, then selecting the property and choosing animation>keyframe assistant>convert expressions to keyframes.
You can then copy the keyframe information to a plain text file and send it to the programmers.
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A possible approach is to blow out the whites so that the tracing disappears, then add a fake board/paper texture in the white areas (luma key) to compensate.
Not the best of approaches, but works if your paper and faint tracing is close enough to white so as not to destroy the quality of the video when you lower the white point.
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Take a screen capture of your screen (still image), add the video and the editable text to be used in the closeup. Animate the text and pointer. Precompose, turn into a 3D layer, animate camera.