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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®.
Next we'd like to present you with some Quizzler challenges, the combined things you've learned in this lesson as well as things you've learned in previous After Effects Apprentice lessons. If you have access to the project files that came with this lesson open up the Quizzler folder and there you'll find compositions that are your starting points for these challenges as well as movies that show the final result. If you don't have access to the files you can just watch these challenges think about how you might solve these then compare your result stars. The first challenge involves this stabilization you did earlier in this lesson.
In this case say you not only want to stabilize this shot, but also mask it down to a banner to use as a graphic element in an overall composite, I'll select the layer, so that you can also see the Mask Outline, I'll RAM Preview and you'll see we have a small problem here. Even though we've stabilized the video portion of this shot our Mask Outline is now bouncing around. Why is that happening? Well this is the rendering order inside After Effects, I going to twirl up the Motion Trackers, and you may remember that a mask in After Effects is rendered before any transformations are applied.
The Motion Tracker works by taking the result of its tracking data and applying it to the anchor point of this clip to make it appear to be stable, but in reality it's animating that anchor point around. So how would you come with an end result, where both the shot is stable, but also the Mask Outline is stable as well? Think about that for a moment. Take your best shot using the composition provided here and compare your results with ours. The second challenge is very similar. Again, here's the wildebeest that you saw earlier and you remember that we had some fun attaching text as a sort of thought bubble to follow the second wildebeest inside this shot.
However, the original shot does have this bit of tripod shakyness in it, how would you craft this? This is not only the text followed the second wildebeest which is our tracking shot, but also that the overall shot was stable, which is a completely different type of track. How would you execute both a stabilization and a track with the same clip? Think about that. Now we'll show you the solution in a later movie.
Lastly here is that tricky tracking shot you worked on in order to replace the background. Now we have a nice stable background because this is a still image and you stabilize the video so that its motion would match up with the new stable background, but this shot is missing a bit of excitement and that is a problem of locked down cameras or still image backgrounds. You may remember that the original shot actually had an animated camera. Someone was walking handheld after the actors and recording the action.
So my challenge to you is, rather than stabilize this shot how would you maintain this camera's motion as part of your composite between the green screened actors and the new still image background? Yes, it is possible. Here is the solution, where you see the background rotating, scaling and moving along with the original camera shot which makes it a look a lot more realistic by the way, doesn't it? How would you go about creating this particular result? Okay, those are your challenges, get to work come back and compare your result to ours.
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