[Rune Jacobsen]

Hi Durin,

Thank you very much for the interesting information! I hope the feature request goes through, but since I deal with XML a lot in my day job I will handle it that way for now.

Again, thanks!

Best regards,

Rune Jacobsen

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Rune Jacobsen

[Rune Jacobsen]

For anyone else who might stumble across this..

I have not yet found a way to change the master track type in Audition.

For my particular workflow, however, I was able to fix this by copying the synced tracks in the generated sequence in Premiere Pro, creating a new track with a mono master track, and pasting the tracks into this one.

When exporting to Audition, the output is now “mono ready”.

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Rune Jacobsen

[Rune Jacobsen]

Jeff,

Thank you very much for your input. I’ll familiarize myself with this a little more to make sure I get it right. 🙂

—
Rune Jacobsen

[Rune Jacobsen]

Tero,

Thank you very much for your help! Going into experimentation mode now. 🙂

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Rune Jacobsen

[Rune Jacobsen]

Hi Tero,

Thanks for your reply!

[Tero Ahlfors] “HDV is actually 1920 wide. It’s just anamorphic HD.”

I have a basic understanding of what anamorphic means, but in PP the video source clip shows as 1440×1080. I will have to actually do something to cause it to become 1920, right?

[Tero Ahlfors] “Interpret the footage to run at 24fps after you’ve imported and edit in a 24fps sequence.”

I will try your interpretation tip. But will this actually cause ever so slightly slower video? I.e. each second of 30fps video will become 24, then the 6 remaining frames will be “pushed” to the next second along with the first 18 frames? Or will it simply drop 6 of the frames each second to become 24fps?

Still learning, thanks for any further tips!

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Rune Jacobsen

[Rune Jacobsen]

Hi Roland,

I know this is ages ago, but just wanted to let you know that thanks to your advice, I managed to get where I needed to be. It looks way beyond anything I could have hoped for without your help. Huge thanks for your great help!

All the best,

Rune Jacobsen

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Rune Jacobsen

[Rune Jacobsen]

Roland,

Thanks. After fiddling a bit with the null, I got my image more or less perfectly following the paper tracking – the only thing that is “off” is when the card is thrown. Even after putting the angle up to 50 (which was the highest I was allowed to enter), it loses the card once the hand motion gets too quick.

I thought I would then do it manually – as mentioned, there are not a lot of frames left where the paper is visible at that point. So I moved the points for each frame – this made new keyframes in Mocha.

However, if I now export the tracking data to AE, everything is fine until the time where I start adding keyframes. At that point, the tracking data seems to jump around randomly, and it certainly doesn’t match where I put my points inside mocha AE.

Is moving the points of my x-spline the right way to handle this? Or should I learn to use the AdjustTrack feature (another thing I am clueless about)?

Also, the tutorial you mentioned about tracking with object occlusion sounds really interesting – but it seems like you didn’t include the link. Could you please post that as well?

Thank you a huge bunch – you’re a true lifesaver!

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Rune Jacobsen

[Rune Jacobsen]

Hi Roland,

Thanks, that was very helpful. I’ve made a bit of progress, but not entirely there yet.

I will go trough the tracking large rotation tutorial in a few moments, just wanted to get this out there since I’m a new user here and still under moderation. 🙂

So here are my current batch of questions:

1) I did my tracking, and was reasonably happy with the result, even if I had to do some stuff manually (didn’t do the large rotation tutorial yet), so I went back to After Effects and pasted the tracking data (with motion blur) to the layer containing a test image with the same proportions as the finished ones will have (once I get my hands on them). I had to remove the keyframes for the anchor point, and move it back to the center coordinates of the comp (960×540, as this is a full HD project), and then it looked like this:

https://dl.dropboxusercontent.com/u/7958042/motionTracked.png

(I deliberately chose a frame where the original paper was approximately straight. I did actually paste the data from the first frame).

If I move around in time, the polaroid follows along as expected. Motion blur looks beautiful. However, as you can see in the image, scale and rotation are a wee bit off. Of course, there are key frames all over position, scale and rotation, in addition to the corner pin effect, so I can’t just scale and rotate as far as I know. How should I go about handling this situation?

2) I understand that I require three layers in the composite. Will I need to separately track the thumb shape, then export that as shape data, and use it as a mask for a duplicate of the composite layer? Or is there a more technically correct name for this process? If you are aware of any tutorials on the subject, I would be happy to know about that too!

Only two points this time, must mean I’m getting closer! 🙂

Again, thank you very much for the awesome help!

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Rune Jacobsen

[Rune Jacobsen]

Thanks man!

I’ll look into learning more about mocha and corner pin, and definitely follow your recommendation about object replacement tutorials. It helps to get nudged in the right direction by someone who knows the terminology.

Thanks again!

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Rune Jacobsen

[Rune Jacobsen]

Ivan,

Thank you very much once more for the excellent advice! Both the quantity and quality of your suggestions and help are way beyond what I had hoped for. You, sir, are a gentleman and a scholar! 🙂

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Rune Jacobsen