[Roland R. kahlenberg]

You can’t render the actual splines from mocha – only the mattes can be rendered and you will need mochaPro for this feature. With mochaAE, you can export masks or mochaShapes and paste these into a Solid in AE.

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]

mocha commits to tracking masks by default. The mechanics of mocha are such that you draw a mask/spline over the tracking area and mocha then tracks the area, bringing the mask along as it tracks the area.

Lots of mocha tutorials can be found on the Imagineer site. Here’s a list of tutorials covering the fundamentals of mocha – https://www.imagineersystems.com/videos?tagFilter=Fundamentals+of+mocha&sortBy=Newest

And here’s another bundle that includes mocha fundamentals by Steve Wright – https://www.imagineersystems.com/videos?tagFilter=All&sortBy=Oldest

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]

It sounds like your CR nested comps are 2D in their lower level comps.
Ensure that the AI files/layers are also 3D in their respective precomps.

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]

Add the Point Expression Control to the tracked layer. Then add the following Expression to its Position property –

value+effect("Point Control")("Point")


You should now be able to manually add keyframes to Point Control, to offset the original tracking data.

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]

Bright and vibrant are subjective – I see no reason why you can’t shoot the actual screens and colorgrade in post to achieve the look that you want.

With regards to methodology, I’ve shot on a black screen and used the Screen and Add Blending Modes for the screen inserts. If lit well, you should be able to extract a luma matte of the fingers/hands that intrude into the screen area. This eliminates the requirement for rotoscoping the fingers/hands. Ensure that the talent doesn’t move the fingers/hands erratically. Not only will this make it easier for post but also leads to less distraction for the viewer (completed movie).

You may also want to shoot a safety still of the black screen – to capture the screen highlights. This shot should be orthographic and of a high resolution so that it can be used in conjunction with Corner Pin tracking data to overlay over the screen inserts.

For tracking the screen/phone, there’s nothing better than mocha. It is ideal that you have at least three corners always in view – not a strict requirement for tracking with mocha but it does lead to a more trackable surface area.

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]

There have been lots of similar Qs here at the COW. Lots of solutions including tutorial links have been provided. Please perform the necessary COW search – buzzwords such as mocha, tracking, occlusion are good search variables.

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]

You’ve likely got some other thingy, other than the Motion Path, that’s causing changes to the layer’s transforms. You should look at the chain of stabilizers etc that you have. The solution may be to pre-render prior to manually fixing the kinks.

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’m still unclear what you want to do. If you want both the ‘normal’ Range Selector and the Expression Selector to work together then it’s quite likely that the ideal solution is something closer to using 2 (or more) normal Range Selectors.

Anyway, you can use both the Expression and Range Selectors by setting the normal Range Selector’s Mode (within the Advanced section) to either Subtract or Intersect.

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]

If the Motion Path can be seen in the Comp Panel then you should be able to remove the kinks manually, easily. It’s a lot easier than most people think. Give it a shot and you’ll be surprised at the ease and the results.

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]

Which property(s) are the keyframes on? How many keyframes are there in total. On which keyframes would you like to have the bounce in effect?

Cheers
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

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