[Roland R. kahlenberg]

[Ridley Walker] “After Effects Render engine is not as good at transcoding as AME.
“

This statement is true only for a small number of CODECs, AFAIK; and H264 is one of the affected CODECs.

PS – Ridley, I know you know what I know but there are folks out there that will take your statement at face value – and perhaps run amok with it.

It should also be noted that if you were to import your AE comp, directly (another workflow option), into AME to render your H264; AME will FIRST render uncompressed before compressing the frames into the H264 format. In short, with this workflow, you are rendering to an uncompressed format without the benefit of retaining an uncompressed render/file for archival or for compression into the same CODEC (with different settings) or into another architecture/CODEC.

HTH
RoRK
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[Roland R. kahlenberg]

Cool!!! Thanks for sharing.

HTH
RoRK
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[Roland R. kahlenberg]

You should have included snapshots of your tracking spline and your tracking parameters in mocha.

With respect to the footage, the lack of light should not be an issue. However, you do want to provide mocha with as much information as possible. When starting off with less-than-ideal footage, you should look at enhancing its inherent quality to make the footage more tracking-friendly. To this extent, create a version of this footage specifically for tracking by enhancing the lighting and contrast. Use the standard color grading tools for this task. Then render out the footage for later use in mocha.

When you’re done tracking, apply the tracking data to the original footage.

HTH
RoRK
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[Roland R. kahlenberg]

You have 3D layers sharing the exact same space. This confuses any application as there is no certainty which image should take precedent. You should offset the perfectly overlapping images by changing any one of their X,Y,Z coordinates by a very small amount – a 1-pixel change or even less should solve your issue.

HTH
RoRK
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[Roland R. kahlenberg]

How does something that doesn’t exist manage to even say something ?
😉

HTH
RoRK
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[Roland R. kahlenberg]

You’re most welcome Quinton.

Cheers
RoRK
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[Roland R. kahlenberg]

We’ve covered this a few times at the COW. Please use the Search feature to find out what you’re looking for.

If you need to post again, please add screen caps of what you have to work with – not everyone knows what QuickDraw does.

HTH
RoRK
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[Roland R. kahlenberg]

1) If your nested comp is Continuously Rasterized, then the camera in its precomp will be neglected. You can still use a camera in the precomp as will allow you to have a better idea where the layers are in 3D space. IOW, the camera is still useful in the precomp for placing your layers in 3D space.

2) In the precomp, mask out the areas of any layer that extend over the composition boundary. This ensures that your nested comp doesn’t carry over any pixels into the ‘final comp’ that are outside of the precomp’s comp boundary

3) Precomps are used to increase creative opportunities, to overcome technical limitations in AE and for grouping a set of layers to simplify a ‘final comp’.

4) You can and should scale your nested comps so that they fit the area that they are supposed to be placed into. You should of course ensure that their 3D position values are correct, relative to the filmstrip. The workflow to make this happen requires (1) placing the nested comp in accurate 3D space relative to the filmstrip (2) scale the nested comp to fit into its required position. When scaling, take note that the Anchor Point acts the center for scale.

You should have sufficient info to get going. If you hit any obstacles, study the issue and try to understand the cause. Then make corrective/alternative measures.

HTH
RoRK
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[Roland R. kahlenberg]

[Quinton Liddle] “With regards to your statement “Creating PreComps for each photo is a good setup and may be easier for some users to manage.” – what would your other suggested method be? Would it be to simply create these 3d layer comps in the ‘film strip’ comp without the use of PreComps? If so, what would be the best way to go about it, because this is where I find things become a bit messy?”

This option precludes having an precomps. It gets messy cos all your layers are in this single comp. There is no technical nor creative advantage going one way or the other – it really depends on the user’s preference which I assume is related to their experience and comfort levels when working with a large number of layers in a single comp

[Quinton Liddle] “I’ve tried doing it the way you explained it. However, when I do switch on Collapse Transformations for the nested photo comp, I lose my 3d effect.”

Ensure that ALL layers in the precomp are 3D layers. More info
here on 3D in AE.

HTH
RoRK
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[Roland R. kahlenberg]

Motion tracking means tracking a group of pixels across multiple frames. It seems that you do not have a grasp of the fundamentals. I suggest that you head over to the Imagineer Systems Website and watch the basic tutorials over there.

Start here – https://www.imagineersystems.com/videos/steve-wright-planar-tracking/view. Then look for the other tutorials in the “Learn mocha” series which were authored by Steve Wright.

Then reinforce what you’ve learned with these other tutorials –
https://www.imagineersystems.com/videos?tagFilter=Fundamentals+of+mocha&sortBy=Newest

HTH
RoRK
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