[Michael Szalapski]

I LOVE Adobe MAX! I’ve been every year since San Diego. Usually, I am a teaching assistant in several lab sessions on After Effects and Premiere Pro which is always a ton of fun and then I get to pop into other sessions, go by the booths, and enjoy the general creative atmosphere which is the core of the MAX experience for me.

I’m going to sorely miss attending in person this year. The Bash is (almost) always an amazing time and it’s not something that you can recreate digitally.

The sessions are great though and the fact that the sessions are free for anyone to attend is insane vs. the ticket price for MAX normally.

[Michael Szalapski]

I’ve found Mercury Transmit can occasionally get cranky. I haven’t quite nailed down what’s causing it for me either. Does toggling Mercury Transmit off and on again make it return? / on the numpad is the key command, I believe.

[Michael Szalapski]

If you’re using Mercury Transmit, you shouldn’t need to drag any windows anywhere.

[Michael Szalapski]

Are you using Mercury Transmit to push the signal to your second monitor or do you just drag the comp panel over to that monitor?

What OS are you using?

What GPU?

[Michael Szalapski]

No problem! Please let us know how it goes for you.

[Michael Szalapski]

If the ground is moving at a constant rate (which, I would assume it is since it’s a treadmill), you could pretty easily just plop a plane there in 3d space as others have said and roughly get it right by eyeballing it. Then, when you animate the plane’s movement, you can make sure it’s moving in the right direction really easily.

How are you bringing 3d models in? Are you using Element 3d, Mir, Stardust, or something else?

[Michael Szalapski]

I’m assuming it’s a video of feet walking.

And, yes, then he would just key the feet.

[Michael Szalapski]

You can apply the tracking data to a null object and then reference that null with expressions to drive your emitter, but there’s no 3d data so you’ll have to just put whatever values work in the z axis.

[Michael Szalapski]

I still don’t understand why corner pin wouldn’t work for you.

You could super-easily make an animated texture underneath his feet with it.

[Michael Szalapski]

Since you have more than two colors here, I’m afraid the messier approach that Filip suggests is going to have to be your route.

When you duplicate your layers, use the copy with property links feature in After Effects so that, if you animate or change the properties of your layer, the duplicate that’s matting the other color changes to match it. That way, you only have to animate something once instead of duplicating work.