[Michael Szalapski]

Put your footage in a precomp that’s bigger than the footage and apply CC Cylinder to the precomp.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

When you do what Joey said, and hit 0 on the numeric keypad you can also hit * on the numeric keypad to make markers. (You can do that in . audio preview or 0 RAM preview). That helps you do your animation to music or other audio. Plus you can view your audio’s waveform too. Just twirl down the audio part of your audio layer.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

As previously mentioned there are some good options at Videocopilot.net.
There’s also this tutorial using Wondertouch’s ParticleIllusion.
And you could always use the formerly famous text blows away like sand tutorial here at the COW.

Any of these techniques may be what you want. Or you could use them as starting points for your own ideas.
BTW, all of this can be found with quick Google search or two.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

Rotoscoping in AE can be pretty precise, but yes; you can do it in Photoshop too.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

What are you trying to accomplish?

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

I have a fairly old AE machine, so what card I have doesn’t really matter for answering your question, but as a btw, read the post immediately below yours for information on graphics cards in AE.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

To answer your titular question, there are at least two effects here (depending on how you count them). Compositing and Tracking.
1) Tracking – As mentioned by a previous poster, Mocha in the newer AE or the regular tracking tools in older versions may do it for you, or you may need an actual 3d tracking program. However you do it, the basic thing is: you need to get information into AE on how the wall moves in relation to your comp window.
2) Compositing – As mentioned by a previous poster, you will need to use blend modes, masking, color correction etc. on your text to make it appear to naturally appear in the scene.
3) Rotoscoping Some people consider this part of compositing, other people would list it separately because it’s so time-consuming and complex. Basically this involves cutting out foreground objects (people, poles, etc) on a duplicate footage layer above the text layer. This enables the foreground objects (such as the person in the video you posted) to appear in front of the text.

Another important part of compositing your text (or any cg element) into your scene is to match the video noise and grain in your scene onto your cg element. Sometimes this can be accomplished simply by applying the noise effect at a very low percentage, other times it requires more complex Match Grain functions.

So that should help you with the names of the effects for which you were looking.
Good luck.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

It would be much easier to build your prop practically then enhance it with AE than it would to totally replace it. If he’s unrolling a scroll with information on it, make the scroll practically, then put the digital stuff that’s actually on the scroll there in post.
AE’s not a 3d program so sometimes placing props in a scene will never look right if they (or the camera) are supposed to be moving around.

Do not use purple for a keying color. Purple is too close to pinks which can be in human skin tones. Blue would be the color you would want to make things. Very vibrant blue.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

Depends on the color of the background behind the airplanes in your footage. If it’s footage of an airplane against a cloudless sky you could use keying methods to isolate the plane.

If it’s a busy background behind the airplane in your original footage, like, if the keying doesn’t work, you will need to do rotoscoping.

In either case, you merely need to isolate the plane, then you can put whatever you want behind it and use the plane as a track matte for whatever you want it to look like.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

Done and done, my friend.

– The Great Szalam
(The ‘Great’ stands for ‘Not So Great, in fact, Extremely Humble’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.