[Tudor “ted” jelescu]

Before going into masking and deleting track points, I would recommend trying out the Warp Stabilizer in Premiere Pro – I got great results with minor tweaking on the settings.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

You should have the ability to choose which graphics card is used by the programs in your Graphics card control software.
https://www.pcadvisor.co.uk/how-to/pc-components/how-set-default-graphics-card-3612668/

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

If you need to pre-render to use pieces in your final do notuse a compressed format. Go for best quality – sequence of stills, DPX or EXR (PNG or TIFF) or a high quality Animation or PNG (in QT, not the file sequence). This should preserve the colors, although QT has some color issues – do a search on this forum and you’ll get a lot of information about that.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

Interesting problem to solve. I would try to generate 3d Nulls using the track points and then use Connect layers to create some sort of grid from that. Another possibility would be to try to paint a displacement map over a composite image made from stills from the video that covers the whole area your drone travels over (if it’s a large area then this would not be possible). You can then use that to displace a layer with FreeForm Pro, link the position of the FF Pro object(in the plugin controls) with the track data, and then render a mesh output and comp that on top.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

A really easy way to achieve that is to animate the arrows in a 2d comp sized accordingly, bring that in the master comp and apply FreeForm Pro to it. Then you can bend that in 3d space and distort it to get the curved arrow path.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

It depends on how the project is build. If you build it in AE, then it’s quite easy. Precompose the video you want in the screens, apply a mask on the precomp that splits the image in 16 parts (grid, a few pixels wide). If you already have the base for the shot – real footage or 3d animation, the principle is the same, you just need to 3d track the camera move and then apply the to a Null that will drive the precomp – 3d layer.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

You need to create a displacement map that is close to the objects in the room but not perfect- you can use a bunch of feathered masks on solids that are various shades of gray. Mocha – planar tracking – is a great tool for that.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

You can use the techniques described in the tutorials below. To get the zoom to happen around the center of the golden spiral just make sure the anchor point for all layers is set to that particular spot.

https://www.youtube.com/watch?v=13ihOacnlJ8

https://www.youtube.com/watch?v=RNQGl4163y4

Tudor “Ted” Jelescu
Senior VFX Artist

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[Tudor “ted” jelescu]

I think the soft bounce at the end when the pieces settle in can be created if you apply a ripple effect on an adjustment layer and then reveal that with a soft mask over the logo as the parts fall in.

Tudor “Ted” Jelescu
Senior VFX Artist

[Tudor “ted” jelescu]

Quick solution- split animation in two, have 2 groups only – 2 layers of E3D, first for the first part of your animation, the second for the end.

Tudor “Ted” Jelescu
Senior VFX Artist