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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®.
We have one more Quizzler challenge for you to solve. We've already done a Close All to get rid of the previous compositions, and remember your challenge was how to take this handheld camera shot that was originally against green screen, I will zoom back, composite it over this still image but rather than stabilizing the green screen shot, how do you impart the camera motion in that green screenshot on to the background so that the entire composite has the original camera's movement? I will type UU to reveal all changes to this layer.
It has been keyed but I have not yet tracked it. Well, the solution is, rather than stabilize this shot, instead track it and apply the results to the background rather than applying them to the same layer that's tracked. I will double-click to open it up in the Layer panel, I am going to zoom in so I can see the tracking dots better, back up to the very beginning of the shot, and say Track Motion. Rather than a stabilization, I will track Transforms, I will add Rotation and Scale just like we did when we were stabilizing.
Move these track points into position, need to widen them out a little bit here to cover the entire tracking dot, creates my search region a little bit, and remember the placement of this second track point was very important. Make sure I enclose our tracking dot and carefully adjust the search region not to be so large that we get distracted by the head moving in front but not to be so small that we lose track of the dot itself, make sure our options are set correctly, Extrapolate Motion is the secret here, Luminance channel, okay, and we'll track the shot.
So far, this is exactly the same as you did earlier. I see my track didn't work, so I need to make my area a little bit smaller, do that again. There we go! Lock back on, press U to reveal key-frames, get rid of the bad key-frames between here. I will zoom in on the Timeline so you can see where I am doing better, delete, go to my next good Attach Point key-frame which is there, and delete everybody in between.
Now I have a reasonable interpolation. Once I have done that, with my Track Type set to Transform, I am going to make sure that the Motion Target is my other layer, the still image and I can adjust that inside the Motion Target pop up if I need to. Now when I apply, click OK, both the footage and the background have the same camera motion. The problem is, is that the anchor point for my background shot moved off to the side where my first tracking point was. That's pretty easy to solve.
I am going to go ahead and clean things up here by twirling up the footage, looking at just the Transform Properties. I am going to press Shift+8 to add the Anchor Point and scrub the Anchor Point for my background to make sure that covers the entire frame, and I will reposition as desired. Zoom back out of my Timeline, scrub through a little bit here, make sure I don't go out of frame. That looks good, and I will RAM Preview the entire shot. And it will take a little while to calculate because keying plug-ins do take a little bit longer to render.
But once I am basically happy with the composite and the position of my background in relation to the actors, I can attach both layers to say a null object and pick them up and move them together to reframe the entire shot, zoom in, zoom out, etcetera. So there's nothing special about this, the only trick was rather than stabilize, I tracked, and there is the final shot.
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