[Ryan Hill]

This would have been much easier if you had asked this question before you already shot video A.

If the background in A is a solid color, you can try keying it out. If the camera is on a tripod, you can try difference matte. Since you are just trying to get a recognizable sillhouette, you can be a little more vigorous with simple choker to remove the noise than you would be if you wanted to really key out the dancer.

If the background is so bad that you can’t pull a decent key, you need to learn about the wonderful world of rotoscoping.

Once you have a flat sillhouette, by hook or by crook, use video A as a track matte on video B.

[Ryan Hill]

Do you still have expressions?

https://www.creativecow.net/articles/kahlenberg_roland/expressions/index.html

[Ryan Hill]

Do you still have expressions?

https://www.creativecow.net/articles/kahlenberg_roland/expressions/index.html

[Ryan Hill]

From Roland R. Kahlenberg’s article here:
https://www.creativecow.net/articles/kahlenberg_roland/expressions/index.html

The wiggle Expression requires three parameters to make it work. The first parameter tells AE how frequent you want it to kick in, the second affects the variation of the effect, and the third tells AE when in time you want it to work.

Though I’m not too clear on what that’s supposed to mean.

[Ryan Hill]

From Roland R. Kahlenberg’s article here:
https://www.creativecow.net/articles/kahlenberg_roland/expressions/index.html

The wiggle Expression requires three parameters to make it work. The first parameter tells AE how frequent you want it to kick in, the second affects the variation of the effect, and the third tells AE when in time you want it to work.

Though I’m not too clear on what that’s supposed to mean.

[Ryan Hill]

I think what you are describing is known as a track matte in AE.

https://www.editorsguild.com/newsletter/MarApr03/tip_ae_track_mattes.html

[Ryan Hill]

I believe the mask will scale up with the layer. The properties of a layer are listed in order, and transformations are below masks, so it is applied afterwards.

There are plenty of ways to cut out part of a layer. Off the top of my head, you can use vector paint, you can use another layer as a track matte, you can apply a key filter, there’s probably hundreds of variations on this.

[Ryan Hill]

Well, rotate the camera’s null about 90 degrees up and move it close to the pictures. This is basically what you are doing.

[Ryan Hill]

I figured out the problem I was having. I wasn’t deleting the last keyframe because it was out of sight and out of mind.

[Ryan Hill]

I figured out the problem I was having. I wasn’t deleting the last keyframe because it was out of sight and out of mind.