[Tudor “ted” jelescu]

Card Dance can help you achieve the effect you’re after.
You may still be able to download a great tutorial and project files from this link:
https://www.heroturko.com/tutorials/32337-maxafter-card-dance-effect-tutorialproject-file.html

As far as the Premiere Pro question I would recommend you post that on the Premiere Pro Forum here on the Cow.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

You can always render out the layer with an alpha channel, import that back to your comp and use the alpha.
I am not sure if once you apply the rotobrush the track matte would work, but worth a try- let me know if it works.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

Few things to try that always worked for me:
Fast blur on the image- .3 to .7 will do.
Apply motion blur- you already did that it seems.
Pre-render the background only with the camera move as interlaced footage and then import that back and de-interlace it using interpret footage. Use that as your background as a 2d layer.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

A bit more information about your system- OS, AE version, RAM, Processor… will help us for feedback.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

Depending on the way you have designed the shot you may need to match a camera move or not. If that is the case, then a 3d tracker like Camera Tracker from the Foundry can help. Once you solve that (or if you do not need a camera move this is the first step), you can set a 3d layer to match the perspective of the floor. recompose that leaving all attributes in the initial comp and open the precomp. Create a grid in it by using a plugin or an image of a square grid. Use that to better match your positioning and to determine the path for your footprints.
In the precomp, which is 2d, you can now animate the footprints coming on. You can play with the look by making the footprints a solid color- black or white, add bevel and texture to them and then comp the 3d layer using different transfer modes- Screen , Add….
That’s one way of doing it.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

There are a few things involved:
1- elements shot on chroma: a bunch of objects that rotate slowly and a few characters that are either simulating slow motion or are shot at a higher frame rate for true slow motion.
2- distortion- using the displacement filter with a displacement map the underwater distorted look was achieved.
3- color grading- the cool bluish tones that give the underwater hue.
4- additional objects, like pieces of cloth or newspapers can be created using a 3d distortion filter like Free Form.

Here are a few useful links:
https://www.videocopilot.net/blog/2009/05/underwater-scene/
https://www.videocopilot.net/tutorials/depth_charge/
https://ae.tutsplus.com/tutorials/vfx/3d-paper-crumple-with-freeform/
https://ae.tutsplus.com/tutorials/motion-graphics/create-an-underwater-scene/

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

I’m afraid Michael is right- sometimes you can’t get away with a quick fix. Rotoscoping is the only option. Mocha can help you with tracking and rotoscoping.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

This may be caused by the following:
If you have OpenGL on (turn it off)
If you have a 2d layer in between 3d layers.
If you have two 3d layers one on top of the other at the same value in Z space.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

As Dave and Walter mentioned I too am not sure what you’re trying to achieve. The framing does not look like it was well designed- Walter mentioned the way the white area of the stairs grabbed your eye, but maybe you were going for a home video look… although the cinematic aspect of the frame kills that instantly.
Grading is a way of enhancing the visual story. Any decent camera will give you good color balance now a days and a good looking picture, so the challenge is to present the story with a different look, one where colors and light are different than what the eye can see (or what the camera sees without grading). You need to establish a theme, a color palette that you want to use and also to know why you are using that. Just because Transformers or another blockbuster is using the orange/teal look it does not mean you should go for the same. Grading with masks can help you bring attention to a part of the shot you want to pop out, but it needs careful planning- Walter mentioned the mask around the woman that spills around her. That does not help. masking needs to be precise, even if it’s sometimes loose and feathered. A person or object usually requires a tighter mask than a piece of sky.
Here’s an example – a tvco that I graded based on the color scheme (green and blue) extracted from the painting “man with the bowler hat” by Magritte. There’s some loose masking (sky and most grass) but there’s also some insane detailed masking (orange seeds, blades of grass, paper planes, man…). The colors are not what you would see in real life but they follow a theme and stick to it.
https://www.youtube.com/watch?v=iCHFw6ocSG8

Tudor “Ted” Jelescu
Senior VFX Artist

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[Tudor “ted” jelescu]

I would give Camera Tracker from the Foundry a shot. If there’s anything in the shot that can be used this one will pick it and use it for a camera solve.

Tudor “Ted” Jelescu
Senior VFX Artist