[Mark Whitney]

Alex,
You might consider posting this over at the Boris FX forum for Mocha as well.
https://forum.borisfx.com/c/mochapro

I suspect the wind blown grass is the real challenge.

Within this past year, someone had a really complex drone removal shot that Mary P. ended up doing a really detailed tutorial. As has been mention, it’ll require multiple passes.

https://borisfx.com/videos/mocha-pro–solving-complex-object-removes/

[Mark Whitney]

Not sure if this is quite what you had in mind, but with a bit of cleverness it could work.

And it’s free.

https://www.videocopilot.net/blog/2016/04/another-new-plug-in/

[Mark Whitney]

Sort of like this perhaps?

https://www.youtube.com/watch?time_continue=13&v=kMASgI0iKn8

[Mark Whitney]

Are you sure that what you want to do isn’t actually just simply INCREASE the duration of the comp & not stretch it which generally changes time scale?

I suspect you are.

With your comp selected, hit Ctrl-K. That’ll bring up your comp settings. Towards the bottom where it says Duration:, enter what you want there. It’ll be frames or time depending on what you had set in the timeline.

[Mark Whitney]

If you watch a number of Mary’s videos on this sort of thing, you’ll notice that she doesn’t track the window but rather draws a “C” or “U” shaped spline around the static edge of the frame for the tracking, but then links the spline for the window to that.

[Mark Whitney]

Take a look at Plexus as that’s what appears to have been used.

https://aescripts.com/plexus/

[Mark Whitney]

Ya, I did a few shows with this group that specialized in miniature work before digital matured. The main guy actually developed a formula to “miniaturize” water come to think of it so that it reacted as if at scale when shot high speed. To say these folk were into detail is putting it mildly. Fun group to work with but sadly no longer with us.

[Mark Whitney]

Hey Graham,

That looks really encouraging. If nothing else you can get some interesting organic stuff to use as luma mattes.

The blog link to the Red October was interesting & most I hadn’t seen. I actually worked on the miniature shot of the Russian Bearcat just before parachute drop shown. Semi long story but our 4-5 days of high speed bluescreen work were for naught & what you see in the final is the model stuck on a C-Stand arm at the edge of the Salton Sea.

[Mark Whitney]

If it’s rabbit holes you be looking for…

https://www.youtube.com/watch?v=3CRIEmzaW2s
and the making of:
https://www.youtube.com/watch?v=LETHMzJCJ0s

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[Mark Whitney]

I believe this is just called the “Creative Process” Felipe. ????

I can’t begin to count how many times I’d have to beg the client or those making the calls for some sort starting point beyond the written script: a sketch, a doodle, a reference photo, etc. and it would be like pulling teeth or that you demanded their first born child. And these are alleged creative types in a visual fields! But it’s going to be different for each project of course and I’m sure others will have different thoughts. My suggestion though is developing a repoire with at least one person of those calling the shots & diplomatically try to get them to think visually & convey any sort of notes. You never know when even the most abstract thing will trigger inspiration.

Either that or demand a LOT more money as not only are you doing the animation, you’re having to SCREEN WRITE the material as well (a completely different process), albeit indirectly, & perhaps only in your imagination.