[Roland R. kahlenberg]

[Cassidy Cagle] “For this particular project I have done several tracks previously with PNG files
and have successfully transferred the info to AE where I of course pasted the data to a null and parented a text comp to this Null”

You only paste mocha tracking data onto a Null in AE if you are exporting transform tracking data. When exporting Corner Pin tracking data, you will of course paste the tracking data onto either a full-frame Solid (for matting) or a video layer (an insert without a matte).

When you transfer the data to the Null in AE, did you (1) delete all the Anchor Point keyframes (2) reset the Anchor Point value to [0,0]? The second step while not absolutely necessary, ensures that the Null follows your tracking data in absolute terms rather than relative. This makes it much easier to confirm that the tracking data is accurate BEFORE you parent any layer to the Null.

Once you can confirm that the Null is accurate, this will help you to troubleshoot issues with the child layer.

For now, ensure that you’ve applied the two steps above and check that there are no Transform KFs on the Text Comp/Layer – then repost.

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

I don’t think that is possible. There is another way to get what you want and that is to use Turbulent Displace + AE’s 2D Tracker – it took me less than 5 minutes to complete the task. Here’s how –

1) remove Wiggle Paths
2) make the small red ball much smaller (you will use this as the target for the 2D track.
3) manually animate the red ball along the path
4) create an Adjustment Layer at the top of the Timeline
5) apply Turbulent Displace – keyframe Evolution or whichever other parameter that suits your needs.
6) RAM preview to ensure that you’re happy with the speed etc
7) nest this comp
8) open up the tracker panel
9) hit the Track Motion button
10) hit the Options button and enable Adapt Feature on Every Frame (this forces the tracker to search for the target even as the target’s size/shape changes)
11) track and then apply the results to a null
12 go back to the precomp and hide the visibility of the ball
13) copy the ball layer to the tracking comp
14) line up the ball on the first frame such that it’s at the start of the path.
15) parent the ball to the Null
16) done

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

[Todd Kopriva] “It can now handle multiple simultaneous jobs:”

Hi Todd, multiple jobs/clips on a single timeline OR individual clips on multiple timelines? I’ve always thought it was the latter and not the former.

Bestest
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

That’s a Film Burn effect. Google and you should find quite a few legitimate sites that offer these as free downloads.

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

In the future, ensure that you have a track-able planar area IN THE AREA where you want to place inserts. This helps to speed things up in post as you will have fewer issues to deal with – it also makes a lot of sense. Further, when camera solving with mocha, at least two different planar surfaces need to be tracked. Ideally, there should be sufficient parallax between the two planar areas. These help the camera solver to do its work effectively.

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

The camera is pretty much locked off when the boom moves into the shot. My choices in order of preference would be –
(1) mask off good areas to create a patch and overlay it on boom

(2) use the clone tool

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

AccCKKK!

Points in the first 2 quadrants; from top right work fine. Points on the other 2 quadrants are not accurate.

I’m dealing with 3D layers for the points and each of the cross-sections in the image I first posted are on separate Z-positions. Could this be the issue?

RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

Thanks Dan! And you were right about the diameter/radius thingy. 🙂

Bestest
Roland

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

Thanks for the reply Dan. The diameter is 290.

Here’s the image of what I’m looking at in my comp.

I obviously have position for A. I also have angles for AB and AC (I don’t have the position for B and C – as stated originally).

I now need position coordinates for B and C. Sense make?

Thanks
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI

[Roland R. kahlenberg]

There are AE-centric render farms for hire if you want to go that route. For your rehearsal, look into delivering a low rez version coupled with duplicates instead of real multiple instances.

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI