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Explore how to use the motion tracker and stabilizer built into After Effects and shows how to handle a variety of shots. Author Chris Meyer leads a quick tour of the third-party software mocha and demonstrates the workflow for The Foundry's KEYLIGHT, both bundled with After Effects. The course also covers tracking a greenscreen shot with a handheld camera and replacing its background.
The After Effects Apprentice videos on lynda.com were created by Trish and Chris Meyer and are designed to be used on their own and as a companion to their book After Effects Apprentice. We are honored to host these tutorials in the lynda.com Online Training Library®.
Our first challenge to you was how would you stabilize this video and then mask it in a way that the Mask Outline was also stable. If you masked the stabilized footage the Mask Outline would bounce around following the corrections created by the stabilization process. Well, there is a couple different ways to solve it. Down in the Quizzler Solutions folder here's one approach. What we did is we broke up the stabilization and masking into two separate comps. First we stabilized the overall video shot and you maybe familiar with this from earlier in this lesson.
Once we've stabilized the shot we then nested this composition into a second comp, I'll make sure the composition windows forward and tap the Shift key to open the Comp Mini-Flowchart, click on my next composition in line, I've nested stabilization into mask and here I can mask the stabilized footage. At this point this composition doesn't know the stabilization took place previously. It's treating this nested comp player as if it is just another piece of footage that had already been stabilized, and then here's the result.
So that's one way of playing divide and conquer, stabilize in one composition, mask in a second composition. There are other approaches you can use though. For example I could go back to this first composition with a stabilized footage then create another layer such as a solid or shape layer that match the size of the sliced video I wanted to keep. Since you may not have worked with shape layers yet, I'm going to go to Layer > New > Solid, and to make life very easy I'll make it Comp Size, click OK.
Turn off its visibility for now, but keep it selected. Select the Rectangular Mask Tool and drag out a mask shape that matches what portion of this video I want to keep, I'll press V to get back to my Selection Tool, double-click the mask, and then start stretching this outline to make it the shape I want it to be. Once I've done that I'll turn this Solid back on and make it a Track Matte for the video underneath. I'll click Toggle Switches/Modes and set the Track Matte pop-up for the stabilized video to use the Alpha of the solid above.
And now I have my stabilized video matted by a stable mask to solid above it. So there is two different solutions track mattes and nested compositions. The nested composition approach is probably the most flexible, because now it would be very easy to add effects to the mask result, so just a Drop Shadow, etcetera. However, if you need to keep things in one composition the Track Matte does give you an alternative.
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