Roei Tzoref
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o.k since you are the one doing this all the time, you know best what works for your needs. glad it worked out, and guess we all learned something. I would also update the Adobe forums thread and post the YouTube link in a response and mark it as a correct answer, maybe this could be useful for other users too.
Roei Tzoref
After Effects Artist & Instructor
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[Guy Manzur] “As you can see above, I just replied with a link to a video of the solution, which I figured out myself, using the motion track.”
thanks for hanging in there and now I see what you mean: by placing the two identical images side by side in a precomp and tracking it, you fool the tracker to think it has shifted and it moves the attach point to the new place. then you can use this information to a null
it looks you can spend about 2 minutes in this method of placing one image over the other including all the setup required. … how long would it take you to do this manually? taking the image you want to place, setting it’s anchor point to on of the eyes, placing it on top of the other one and scaling it back using opacity or difference mode – a close competition I Imagine.
Roei Tzoref
After Effects Artist & Instructor
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[rikki kimo] “Grow bounds is not effecting CC Mr Mercury on my solid layer.”
o.k if anything, the grow bounds effect needs to be before the effect and not after. still it would not work since Grow bounds does not work in all cases. this is one of them – you are increasing the transparent area of the layer, but CC Mercury needs actual pixels to manipulate and finds none so there’s the result – a cropped image.
an easy approach would be to use a tiler effect like motion tile – place it before cc mercury and increase the output width and height.
Roei Tzoref
After Effects Artist & Instructor
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[Ryan McDermott] “I’m attempting to fix some shaky footage by applying warp stabilizer.”
have you run through the help files? this semi-automatic tool has more then just click and go
https://helpx.adobe.com/premiere-pro/using/stabilize-motion-warp-stabilizer-effect.htmlactually the default “subspace Warp” can cause many problems, try different methods
one other thing – WS is scanning the footage for movement caused by the camera, if you also have movement of objects – it can through the stabilizer off thinking it should stabilize that movement. if you need finer control in stabilizing the footage such as delete certain areas from the track so it won’t try to stabilize them – use WS Vfx in After Effects for stabilizing the shot and render it, then import back to premiere.
[Ryan McDermott] “I’ve exported a demonstration of my clip before and after to better demonstrate my situation.”
where is the link?
Roei Tzoref
After Effects Artist & Instructor
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you can use a script for rigging your puppet to nulls.
Duik does this for free.
https://rainboxprod.coop/en/tools/duik/you also have puppet tools:
https://aescripts.com/puppettools/Roei Tzoref
After Effects Artist & Instructor
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[Blaise Douros] “1. No, I didn’t prep the footage; the one thing that I did differently was track from the beginning of the clip until the camera pans over to the hallway, to give the 3D tracker more movement data to work with. “
yes. there is no point tracking when the window leaves the frames. strangely in my setup I can’t seem to solve it from the beginning of the shot but only right before the window appears – which is just as good of course, just makes me wonder why didn’t it work
[Blaise Douros] “I’ve found that the 3D Camera Tracker is somewhat good at guessing AOV”
this is great info. I will try that in the future.
[Blaise Douros] ” I like the 3D camera tracker for a lot of other applications (I do a lot of titles that are tagged into the scene’s 3D space), so I’ve gotten pretty comfortable with it–it’s an easy solution for a lot of problems. I need to get more fluent in Mocha, though. Great conversation!”
I tend to not use 3D camera tracker because my needs are more with compositing in 2d for vfx and not adding titles. I find it’s much easier for me to composite in 2D than in 3D (it is a pain really). I know I should use it more though.. especially when there is perspective information in the scene.. you got my exercise files and I got yours so I will be happy to trade information in the future of you have any trouble with mocha, and I will use your knowledge with my 3d track solving…
here’s a thread with a 3d camera tracking and composting I am actually proud of since I don’t do it much and mocha would have been a little more pain doing it I Imagine ☺ https://forums.creativecow.net/thread/2/1116664
Roei Tzoref
After Effects Artist & Instructor
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maybe this same thread topic in Adobe forums will give the contributes more information as to what Op is trying to accomplish:
https://forums.adobe.com/message/9188303Roei Tzoref
After Effects Artist & Instructor
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Blaise,
thank you for sharing the technique.it didn’t occur to me to use 3D Camera Tracker and this seems like a good choice since there is a lot of perspective information in the scene. it seem to work well and if done successfully it’s a good approach for keeping it Native too.
got a few questions for you:
1. did you prep the footage other than trimming before you tracked it? I tried to apply the 3D Camera tracker and in CC2017 it was stuck on solving, in 2015.3 and 2015.2 after analyzing it just crashed my Ae. tried rendering it lossless QT Animation and track again – same result.*Edit: I managed to overcome this problem by trimming just before the window appears, although in your example I see you have tracked data from the beginning of the whole shot. still manipulating 3D Camera tracker for this shot was unresponsive at times and proved to be unstable crashing my software.
2. I see you did not leave the fixed angle on the tracker and specified an angle of 50:
care to share how exactly are you figuring out the right angle so that the tracker would be accurate if you don’t have the angle of view from the camera? I actually looked for a guide on doing this but was not able to find one*Edit: the default pixel error I get with fixed angle of view is 1.39 pixels. if I change the shot type to “specify angle of view” I get a 55.9 Horizontal angle and the error drops down to 0.95pixels – you got 0.97pixels – so is that what you did? just change to “speficy” because I have may learned a new trick right now to make my tracks instantly better 🙂
3. as for this
[Blaise Douros] “This method allows the exterior image to move with the camera, and not appear to be tagged flat onto the window frame. “
just to clarify, you can do this also with the 2d tracking technique with mocha by setting your window replacement to use a track matte of your window and apply it the same tracking data of the track matte, then setting it to 3D and setting off it’s anchor point further away in Z position. there is actually no true 3d information you need outside the window and offsetting the flat window track in Z space will prove to be fine for this purpose I think.
Roei Tzoref
After Effects Artist & Instructor
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[Dave LaRonde] “If you want rounded edges, just use the Pen tool. There were far more complicated things going on in that video. For example, the ragged edges. They’re more difficult.”
as you can see Dave, the animations are shifted in a distorted 3D like fashion as if a camera is moving. creating this imagery could be done using the pen tool but making it move like that – highly unlikely. this was probably a precomp with the animation as a straight up animation and then it was bended in 3d so that a camera can pan and the imagery would distort as if there was a floor and background. ragged edges is easy using wiggle path of shapes /roughen edges or turbulent displace effects
Roei Tzoref
After Effects Artist & Instructor
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[Vlad Sineok] “Thank you that’s exactly what I wanted!”
Great! thanks for the interesting video and let me know how it goes and what you ended up using eventually.
Roei Tzoref
After Effects Artist & Instructor
♫ Ae Blues Tutorials