[Roland R. kahlenberg]

AE will default to a PAR interpretation of 1.33 for footage with specific pixel dimensions. So, what are the pixel dimensions of the stuff that you work with while in PS?

You should also take note that after applying a specific footage interpretation (via CTRL+ALT+G), you can then CTRL+ALT+C (which copies the interpretation settings) while this footage is selected. Then CTRL+ALT+V, to paste the settings onto any number of selected footage items.

HTH
RoRK

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[Roland R. kahlenberg]

Tracking should not affect the background plates – the RGB and Alpha layers should still be 2D layers. You should be able to easily check the validity of these two layers in AE before you track. If they line up perfectly then post-tracking should not affect the layers as long as you leave them as 2D layer.

If things are still funky, then post screencaps of your Timeline –
a) before tracking – I’d like to see how you’ve placed these two layers in their own precomp and applied the track matte procedure as advised in an earlier post

b) post-tracking – I’d like to see how you’ve structured your layers

HTH
RoRK

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[Roland R. kahlenberg]

It sounds like you’re describing two different issues –
1) matchframe error
2) getting the alpha to work as expected

For (2) I suggest that you create a composition for the RGB and Alpha layers. Place the RGB layer below and set it to use the above, Alpha, layer as an Alpha Track Matte. Then nest this composition into your ‘final’ comp.

For (1), I am assuming that you have made this sequence a 3D layer in AE. Not knowing more, I am assuming that this sequence should be left as a 2D layer. If this doesn’t work, then you will have to let us know more on the following –
(a) the tracking or background plate/layer; provide at least an image (b) how was the HVAC created in relation to the tracking plate
(c) what you have done to both these layers once you brought them into AE.

Cheers
RoRK

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[Roland R. kahlenberg]

Try to set Cash Shadows or Accept Shadows to ONLY.

HTH
RoRK

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[Roland R. kahlenberg]

1) duplicate backing plate or background footage
2) place the duplicate above the text layers
3) create masks around objects that should be overlaid over the text areas in order to create a realistic composite

I have never mentioned using a track matte because it is not necessary. Let’s stick to what I have suggested before you go an add in your own two cents into the mix. You can of course do so BUT only after ensuring that you have the most basic structure of the composite in place.

You really only need to try out the 3 steps for a few frames to check on the validity of the procedure.

Cheers
RoRK

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[Roland R. kahlenberg]

[Shaun Carollo] “By backing plate, do you mean the background?
“

Yes.

RoRK

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Imagineer Systems (mocha) Certified Instructor
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[Roland R. kahlenberg]

A different strategy is often used –
1) duplicate the backing plate and place it on top of the text layer
2) mask out parts of the duplicated backing plate such that the required parts are above the text layer.

HTH
RoRK

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[Roland R. kahlenberg]

Ensure that ALL layers have identical pixel dimensions and pixel aspect ratio.

HTH
RoRK

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Imagineer Systems (mocha) Certified Instructor
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[Roland R. kahlenberg]

[Gene Felice] “When I scale it up to get it to the size I need, it gets larger but also moves forward in z-space.”

This sounds like a user-error. I suggest that you scale the layer by changing the Scale property in the Timeline instead of the Comp Panel.

HTH
RoRK

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[Roland R. kahlenberg]

You should look at using Merge Paths, NOT Trim Paths. Another important tip is to re-position the Anchor Point for the Rectangle Shape prior to animating its rotation since you will want the rotation to be anchored to the center of the circle.

HTH
RoRK

Intensive mocha & AE Training in Singapore and Other Dangerous Locations

Imagineer Systems (mocha) Certified Instructor
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