[Max Weissenbacher]

Thank you very much for your responses! I will check those two (three) methods out now!

Cheers,
Max

[Max Weissenbacher]

Maybe try to find some points or rather areas (mocha) that are all about the same z-distance from the camera, track them, parent them together, stabilize the shot, precomp it and then hit the collapse transform switch and reapply the moition manually or via the original tracks bzt smoothed out (using the smooth expression).
Maybe if shot is going to be split up do several seperate stabilisations, nobody is going to notice that.

The only tips I can give you, maybe also do a matchmove and export a moving scene to get some trackers to work with!

Cheers,
Max

[Max Weissenbacher]

You can also easily recreate a chromatic abberation or twich effect if you duplicate your layer three times, then use a set channel effect and set the channels to red green and blue (only one, others must be off, otgerwise you get the grayscale respresentation of the appropriate color channel of your source) for the layers. Then set the top ones (so red and green) to add modes and then displace them or simply offset them!

Cheers
Max

[Max Weissenbacher]

Try displacement mapping. Always a good tip.

Cheers,
Max

[Max Weissenbacher]

You’re very welcome! The simplest solutions are most often the best! Also thanks to Walter for adding some tools to that. What Walter also mentioned (and what I forgot to mention) is that you should look through your R, G and B channels to see which one offers the best contrast. Then use Set Channels to set the R, G, B channels all to the same (so f.e.: R=B, G=B, B=B) to achieve a grayscale representation of your chosen channel. Then creating the matte will probably be easier!!

Good luck!

Cheers,
Max

[Max Weissenbacher]

Hi Jim,
yes, this is a very common operation indeed in compositing, often used to light- or shadow-match objects (so creating or eliminating clues where the light comes from).
So the workflow is: create a simple high-con matte for your layer (I recommend Colorama or Levels) so you only have the area that you’re trying to affect left. Then create garbage masks or mattes or edge mattes to further limit and clean up your selection. Finally apply your new matte as a trackmatte (or inversed, depending on your selection) to an adjustment layer or if you want to limit a solid or whatever you wish with it.

Cheers,
Max

[Max Weissenbacher]

Have you checked your origin setting? Seeing where the plug-in set your origin is always a good trick. Is there a possibility to try matchmoving with any other software then? If you can do so, try to export some tracking points from the software that are in the appropriate place as nulls into AE…

I hope I could help a bit at least…

Max

[Max Weissenbacher]

So now I don’t know what to say :D.
Thanks for your response and the tip in Photoshop, I didn’t know that!

Max

[Max Weissenbacher]

So if I’m getting you right you want to have an image (with Alpha) displayed differently than what is stored in the Alpha Channel. Sorry if I’m mistaking or if I got you wrong, but this is literally impossible. You’re trying to store two different variations of a channel in just one channel and then even have the image displayed with the first one but the software access the second one.

You could try and use openEXR if you bother… Also why can’t you just export a seperate matte and use that for your engine? Yeah I know that’s a stupid question…

I hope I didn’t disappoint you too much..

Max