Advanced Motion Tracking in Mocha and Adobe After Effects

good morning everyone and welcome to advanced motion tracking in mocha and Adobe After Effects can be on begi here from elico and it's nine o'clock Eastern time this session will be about three hours so let's begin I'm going to close my welcome screen and let's take a look at our assets for today today I have few different assets and show you guys how to get motion track in Adobe After Effects let's start with something simple something very simple I'm going to start with this video called table so this is a a table I have here and if I played a clip a by the way this club ease decent resolution is 1920 1080 and is 30 frames per second and he's very straightforward what I want to do I want for example to place something on top of the table it doesn't matter what it is it could be a 3d object it could be selecting the surface of a table to be able to change the color change your reflection removing a reflection meanwhile I can kind of track the wall and for example track the plug on the wall and try to remove the plug from the wall that's going to be tricky tracking it is easy because I have a good contrast but what's difficult with the plot is after I remove it then what I need to make sure the background is have very clean edge in there so that means I have to create some sort of background with a gradient and Siletz that's a completely different way of approaching it so right now the only option I have for these glasses just show you how I'm going to track this thing now you literally can grab your phone this is how use my own iPhone so it's not a video that has to be taught professionally noise you probably can can tell the lighting is off the window and just a table at the home I just use the iPhone to do that so if you are stuck at home and you want to do some cool stuff just grab your phone capture something on a table and just bring it in so let's try this I'm going to create a composition based on this video simply I will grab the clip and I drag it inside an empty timeline this will create a composition and after the facts call it the same composition as the clip however for a simplicity I'm going to rename the composition from table into camera tracker or the base I could just type a tracker here let's go camera tracker yeah since I have a camera tracker we're going to look at the tracker panel window trekker now I'm going to undock the panel bring it right in the middle we're going to explain I'm going to explain a few things how this thing works for example if I select a video clip I have four options here the options I have called track camera track motion warp stabiliser and a stabilized motion however if I create a mask inside this clip and you know I'm just going to turn my mask off you don't need to actually have the mask enabled I have a different panel the tracker changes so if I select the actual clip I have for tracker option if I select the mask I have a different tracker pay attention to this part because sometimes you need to track and specific objects using masks and sometimes you need to track basically did the whole thing so I'm going to do the mask later on with the different exercise so I'm just gonna get rid of the mask to just let you know that that's what I have now about the tracker something about tracker you need to know is because these options each option doesn't one specific things for example if I select they're more stabilized motion stabilized motion designed so you can track and a spot and stabilize it for example if I show you a scene here from a one of my cinematic classes I have in Adobe After Effects it's called motion tracker class that means less than ten and here it is these are clips from a movie called the traitor traitor is a Hollywood movie as you can see if I put my tracker on the side and this is the first shot that this kid walks to the balcony and basically say goodbye to his father his father get to the car and then the moment he closed the door look what happened to the people outside in a market wait weren't there everybody running and walking around and looks like something happens well because the next scene of a movie the moment he closed the door of a car the car supposed to explode and here it is your job and there's a couple of thing happens first of all you can see there's a lot of wires and everything else in there and and that car be replaced with another car and of course those people be replaced with the dummies and then they explode the car just like this well you need to line up these two footages how you going to do that with stabilizer if you have to stabilize the car make sure this car and the other car they'll line up over each other that's the tricky part they are very different the angle is correct but the the height of a camera camera is moving that's when we use the motion stabilizer to stabilize the motion so make sure that two cars line up when you are working with a tracker the other option called a warp stabilizer warps they really design when you have a shaky camera I just want to stabilize it after the fact that reference points to be able to do that it does not automatically itself you're able to adjust a few things like you know make it smoother or rougher if you need to and brings us to these to track camera on track motion now let me ask you this question when I'm playing this video what exactly is moving business that you've dated moving or the tables moving or this lowell whatever it is moving no the cameras moving isn't it so the option in here is track camera if your camera was on a tripod and then somebody is running or an object moving like a car is moving or or a boss is moving and you just want to change the logo on a side of a side of a bus then you have to use a track motion but in this case I'm gonna select track camera when I select the track camera after effects you use a track camera filter using a 3d camera tracker filter and he needs to analyze they clip into a steps when analyzing a clip and a step number two they try to figure that where the 3d points on space are there's a little a frame counter inside the filter you keep an eye on it if you see that frame counter doesn't move or get stuck then your computer is either very slow or that it crashed for some reason or the clip is not good but once he's done you should see a bunch of dots on the clip as I'm moving or playing this video by using the look when I'm playing the time line those track pointers disappear let me select the option here they call the bounding box there see it in the preview if I turn it off and I played a time line my I lose my track point sorry I have to kind of scrub it I don't want to do that I want to play it fullscreen and be able to see what I'm doing so I select this composition panel and expand it to this so when I play it look what happens you these are the points that Adobe after the facts choose I told you that selecting a plug is easy see now what do you guys see when I move my mouse on the screen this this I'm not selecting anything I'm not click on anything I'm just moving the mouse on the screen as I'm moving the mouse on a screen how do we have two effects create some sort of three references for me in order to track any object you need three point of reference so if I want to put something on the surface of this table I need to port pick up to three point of reference on the table that has a proper perspective if I select the wrong one for example this one whatever I type in there let's just say I'm going to type my name there I want to put a text on the table if I put a text or a low bow on a table what's gonna happen is the logo gonna be lined up on top of this shape which is wrong I want to put it on top of the table so I need to find a three point of reference on a table this is not as easy as you think I'll see what I can do here see that's not good because one of the point of reference actually connected to this object I should be able to find something eventually no no sometimes when I move the frames to the different angle like a beginning of a tunnel oh I think I found something that's actually not too bad I had it there before where are you oh there's one that's not too bad there is one here I just don't know which one is connected to which one this one right there there that's the correct one why because I have three point of reference on the table nothing to do with the object I mean this object has an edge if i zoom into it the points are not exactly at the bottom of the table if it was I could select that but is not so I need to select the point once I choose this point of reference I'm able to move this this circle look what happens when I move it on a circle on a table notice that this is called a plane that if I put any object on it it has a proper perspective of the actual table so that is correct this is a correct perspective very important to get this thing right and once you've done that I selected the point I want I right click on this triangle I have a multiple options create text and camera create solid and camera create null and camera create shadow catcher and camera and life I'm going to grab the option called create text and camera now the moment I type select text add a text layer and I have a camera layer called a 3d camera monk text is in 3d layer you've probably seen it that there's a cube at the end of it if I expand it and extend the transform everything I have in a normal transform being basically trouble for example my anchor point now has the three numbers X Y and Zed I have the position has x y&z also my scale has also three numbers and orientation see my rotation change into orientation with the three sets of numbers and then I have an XY and z rotation and then I have the opacity which is a normal the only thing haven't changed is the opacity so if I grab the text here and I want to move it I have to use one of these three guys here definitely I'm not going to touch the dizzied one because this one moves in the in the depth in there all I want to use an x and y so I'll place the mouse on the X and I should be moving be able to move the text and I can put it in the Y and I bring your text and then be lower so I'm going to move this thing right here let's just say I want to rotate the text I want to align the text to the actual table to the edge of the table well that's pretty easy for me how can I rotate the text for example counterclockwise this way let me use a different color for this so it's easy to see it comes out though I want to tell my text to line up with this edge of a table right here don't you think I need to rotate my text clockwise and exactly from what axis this is the one isn't it I need to rotate this this one if I rotate this thing and text will rotate based on this axis it's funny in normal computer graphics that you're dealing with unless you're a 3d graphic artist and working with the 3d programs you don't have three of these things and we get used to rotating object clockwise or counterclockwise using a simple rotation the thing in in 3d when I select the rotation I can rotate the object this way look why because that is the X this is y sorry this is y and this is Z again I have to be on it if I'm biting if I'm not on the Z X or Y axis I'm able to rotate the object in all dimensions that that's becomes a tricky one because you're gonna use it you're gonna lose a perspective so I place that the rotation tool on the L arrow when I see a zip on it I should be able to rotate it if I want to drag it down I press V to get my selection tool and I see a little arrow with a y on it I'll bring it down have you noticed After Effects keep the perspective exactly correct now I'm going to use the edge of the table as my baseline I press W again to grab my rotation I grab the Z and I try to rotate it the best I can now some of you might say isn't it easier for you if you for example place your anchor point on the left side or the right side and then rotate it from the angle to line up the rotation you're absolutely correct but you're also missing something I believe if I go to my window paragraph panel I'm at center justify certain justify help quite a bit or when I'm typing the text will be perfectly in center but if I click on a left justify now the anchor point goes on the side I'm not going to manually move the anchor point I have to use the paragraph panel so with the paragraph panel I should be able to correct it then I reposition it so let me first of all put the text right at the edge of a table I'm gonna zoom in as you can see everything I'm doing here now today is try to be as precise as I can so that's the bottom of a text so I need to rotate it just a bit there you go some of you probably gotta say isn't easier to use the property for rotation probably is if i zoom in because that's the edge of a table I can just grab the last number and increase or decrease it yeah that's the one this does it the last number now in after-effects if I hold the shift key when I'm placing a mouse on a number the number moves in by 10% at a time that's not exactly what I want to do but if I hold the ctrl key I can go with a decimal done this cannot get more precise than this this is the this is the most precise I can get to the edge of a table if I move it around you can see that's exactly at the edge now once I've done with this thing all I need to do put in the middle to the text anywhere I want and by the way I can go to the character panel I think I had my character panel somewhere here if I don't then I'll need to go get it remember I didn't type the text myself I in after-effects when you use a type tool and you type a text what happen is After Effects actually opens the character and paragraph who you but in this case it didn't create it by the way if you want to make a Texas smaller try to use the tech of the font size don't use a scale or anything else like that again that's just a tip typical thing with you and all I need to do double click on a layer text is safer Photoshop and I typed my name and if I play it my name is on the table look of course I'm going to turn this thing off and he doesn't look good at the moment because again it care about the tracking at the moment not the not the rest of it if I want to make this thing look pretty good then I will change the text color into for example red color and then I change the blending mode rose up to multiply and this looks like my name it's been carved in there or being been printed on it you guys can see the deflection passed through it too I can also change this thing - for example soft light and then use the eyedropper and pick a color from a table maybe a darker Brown from a table that looks too dark I'm gonna use a lighter one nope - still too dark there's something like this so I can kind of like put it in there looks like he's there again this needed a bit of a push and pull for you to pick the right color for it definitely having a preview on and moving things around I should be able to get something very very similar so he's there but it's not that a big deal then I can apply some sort of blower to it because the edge of attacks need to be diffused so I'll go to distort and there's so many filters I can use how to smear air to do something to make it a bit ripple smear the edge by applying a bit of a number to it this can make the edge a little bit more rough you and I'll select the the absolute normal above-average loose yeah I don't want to make a liquid and this is this is fine the linear is fine has a smooth yeah I'm making the slight difference to the edge it doesn't really look as much and I can select a layer mask to choose dialogue from to also add something to it I can put a little mask on it or what are that better options applying a slight blur to it horizontal or just something like I think a fast box blur will do make it into a horizontal one and let's take a look yeah there we go again the numbers too much I'll hold the ctrl key when I'm moving the number this looks diffused enough pSATS at the end of the day you guys can open that transparency or opacity and just reduced opacity so looks like a my name is was was basically itched into the table and is right there lake look now this could be done with a low-volume you don't have to use your name you could just I can just use a Lobo the Lobos will be more trickier because already I told after facts to create a tracker but don't worry about it the tracker the camera tracker is a filter so if I go and select my table again I can just select the the same point I had here where was that point where were you you were oh right there I have to move around until he he needs to pick it up for me see if I can do it manually but shift-clicking these three guys yeah if I right-click on it I should be able to create a as something called null null object is an invisible object that we use a lot in Adobe After Effects now the beauty part of a null object is as you can see is there and is invisible but I can use a null to link it to something else because it has all the motion tracking data in there as you can see has all the settings and has pretty much all the material options as well if I go and grab the logo let me just import a logo for you from the elico online motion tracking let's say I'm going to pick this logo illustrator logo I'm gonna turn my name off and I grab this logo and drag it here this logo first of all has to be 3d as you can see the transforms all two-dimensional when I select the cube it becomes a 3d however this logo is no near what I need now if I move it around it doesn't look like anything the hardest part with this thing is you gotta use the these track pointers and you gotta align the logo manually so becomes fit on a table obviously this is a lot harder than then appear to be so I need to grab one thing at a time and rotate it however I got an idea that usually works the best if you look at the null object the null object has the correct settings the null has the proper XY and zip one of the simplest thing you can do you can copy/paste the numbers if I copy paste in numbers it should line up in theory as you notice that the logo has a zero zero zero for a rotation or orientation but the null object has a different numbers I don't care about the position because I will move their move their logo anywhere I want I don't want to put it there I want to put in the middle of the table so in this case what I could do is i select the orientation of the logo by holding the Alt key and click on the stopwatch then I use a pick whip and I link it to the orientation of the null object if I do this thing the moment I click outside of the screen the script applies and voila look at least I got one thing right the thing like that right is the orientation the next thing I need to adjust of course is the position I know I told you I'm gonna move the position later but moving a position of an object is it doesn't look right though doesn't look like sitting on it does yet it moves in a different way so I'm going to connect the position to the null object if I want to move the object actually move the null let's take a look see told you it's going to work and then you gotta say well the objects in the wrong spot of course I'm not going to touch the object that's what call it not null is nothing so I can move the null here it is if I move the null object moves with it because are linked now if I scaled and all you guys can see what a knob look like nollie is just usually a rectangular shape and has nothing there again you don't need to really see them all no knees always an invisible triangle rectangle if I want to make a lower larger I need to really go to the logo I need to scale it and of course the thing is you need to track the Statue of David there and mask that so you can put the logo under it if you need to but this is this how to look like obviously I'm going to select the remember if I want to move the logo I cannot move the logo really I need to move the knob so I'll select an old and I move the nulls position down and Noah will move the logo and or not parent because a lot of other options are different like a scale and everything else different don't want to parent it in some cases you can but the best thing to do is link them linked to properties the rest of is easy I can grab the layer and use a soft image overlay or a soft light and there it is I have the logo I better turn this thing off and play it for you full of screen so you guys will see the result too I don't know how well you guys can see it online when I'm playing it and it's actually very decent like very very good if i zoom into it right there looks like a table has that has a lower being being printed up into it just like this so once you get the idea with the camera tracker and that'll be after that is very very powerful you also notice there are a lot of other track pointers for example if I want to color correct or fix this edge of this object what I want to change the color of this this gotta be a bit tricky if I want to change the color of the plug on a wall it's still I need to motion track it so I'm gonna select something that matches the wall and the walls perspective for example which one you think is right this looks alright to me let me see it oops sorry lost it again yeah these three points looks okay let me see come on come on yeah that that looks good so this time I can right-click on it and select solid so what's a solid the solid creates a solid layer if you guys look at the solid layer I don't really care what color he made it he made a track solid one so let's take a look at it look obviously for you make this thing half transparent you should be able to see it just like this now because I'm going to show you guys a different exercise this is a little bit tricky one because you need to use a sort of corner point to adjust it and I might have to do some adjustments but bottom line is if I grab a pen tool and I mask it just show you something very quick before we move on to the next one I've got multiple examples to show you and um show you a lot of options here and again the opacity is set to this I can go to the solid settings for example change this thing to a red color and then use a layer like multiply it and then I reduce this thing and then you have some sort of plugin of all the different color okay obviously you see this edge because I need to fix the mask but if the and I didn't really do a good job with the mask here just to let you know so I need to do a proper mask feather and I got to do the basic contract and expand you know the rest of it so I can just do something something really nice with this so the wall plot can be can you change the color if you need it you can be corrected so this is one option I just showed you with the tracker is called the track camera this is one of the easiest one by the way I just showed you every exact example I'm just gonna make a little harder and harder until we get to the port that you can say oh my god this is really a nightmare I have a three day motion-tracking class so the three day full-time that's what I usually teach in a class I don't go to this part any anyway in that class like how to blend stuff like that I'm showing you way more here but I'll try to show you more of a funnel product in this case so I'm going to start close this project I don't need to save anything no I'm going to import this this clip this clip in this club what I have here I have a video of these two gentlemen here dressed up very nicely and they're acting family and I have a photograph a PNG transparency of this mask and I have an eyepatch also again these are done in Photoshop I don't really need the transparency background but you guys get the idea transparent again your mileage varies based on how good your selections are and how you mask it in Photoshop and so on I'm going to make a new composition based on the clip and it's called the two assassins Paris 1920 I think a dress more like a 1820 or 1720 but anyway I'm going to name this thing two masks tracker first of all I need to track their faces because what I want to do I want to attach the mask to their faces so their faces need to be tracked so I'm not to be sure which guy actually is easier for me to track it doesn't matter I'm going to go with the guy on the right side my right side this guy ok first thing I need to do is I need to track his face because if I be able to track ok first of all let's start with this this thing if I need to put this mask on this guy's face I can just mean you probably thinking why don't you just put this layer on top of it and then of course the size is very big and I need to scale it down this is more like a Photoshop work now right so I'm going to zoom in and line up the best I can over his face the thing is because he's moving I need this mask to track his face so I can link them the problem with this thing is I need a reference point what part of his face I can use as a reference point usually eyes are a good idea but also always to have an inner and outer section to it for example I can track these points usually on someone's face and it works really well this inner with this inner the outer with the outer I can track the nose I can track the eyebrows I can track the mouth all of these ports can be tracked so you've probably seen it on those in the movies I put a lot of dots on someone's face as a person turns around because they just want to make sure they get all the parts so in this case I'll select the clip I'll and I make a mask on his face his face probably looks more like an elliptical shape so I'll use it ellipse of course I won my mask to be a working mask not the real mask working mask means I'm just called his team face and this mask doesn't do anything all he does he led me to select his face now I need to track his face I don't know if he moves his chin or not I'm not gonna take a chance I'll make the mask a little bit wider than what I want but I should have enough information for our After Effects to be able to track it so here it is I make my mask like this he has a really white chin here so I need to make sure everything is set properly you don't have to be super accurate not in this example that's good now if you look at my tracker my tracker change from the normal tracker into a mask tracker my masks which are called face actually appears at the bottom here called face so when I click on a method after facts can track the position position rotation scale and rotation position event even can do the skew perspective and there's an option of face a loin only or detail I'm gonna go with a detail because I need to track the eye okay I'm going to click on motion tracker forward and let's take a look facts is tracking it notice how you detect the eyebrows detect the eyes detect the nose detect the jaw and a mouth all of it I can do a lot of thing with this thing now and this is what I but that's what the result is first of all my masks get refined a little bit I don't remember I made that many points on my mask I had an oval Shelby the four points but After Effects add two more three more four five six seven eight more points on top of my original four to create a more refined edge you don't have to make a mask very precise as I said as long as your mask is very decent after flexible taking care of it it will add more point as it goes let's take a look if I expand my my mask my mask has a motion path which is Trekkies face which is normal we don't add a lot but when I expand the effects there is a filter called face and face track points I have a left eye right eye nose mouth and cheeks and chin when I expand it I have a Dada keyframe for all those points I know this is sounds a little scary at first when you look at these things I say oh my god what I'm going to do it is all these keyframes well you ask for a motion tracking and these are a number of the keyframes that I have now I don't need to use all of them oh no no no no no no far from it what I need to do is I need to pick a spot one point that works the best for example if I want to put a mass on the guy's face and track it properly I can attach the mass to very much any of these key frames I can attach it to the to the I to the inner eye to the outer eye to the center of eye center of eyes it'll be tricky be careful because the guy might move his eye to the left and right and we have and you know I has a little bit of a twitch if you videotape somebody the personal eyes keep looking around and keep moving around unless the one and look at the camera straight which is it still is unreliable nose same thing but one point that eyebrows especially eyebrows we use our eyebrows in micro-expressions a lot nose and a mouth the same thing one part that you cannot change unless of I don't know you have very special movement in the in debt and your muscles in your face is the inner or outer part of I cannot be moved I know if you think like I'm squinting whatever if I do that I don't think I can move this point inward or outward I'm not a doctor here you can probably try it at home but I highly doubt it I think these points the inner or outer part of my eye is the most reliable one because remember eyebrows we move our eyebrows we move our eyes we kind of I don't think we move our center of our nose like there was a TV show I Dream of Jeannie or something she could wiggle her nose or was bewitched I think was bewitched yeah she was she was moving her nose I have the Flair of a nose the mouth yeah definitely not so I'm going to use a side of eyes I'll grab my little mask here drag it on top obviously I usually start with the beginning of a timeline because my motion tracker starts from here so as a logical for me to state from that point I will scale this thing down to a more manageable size I'm not sure what size at the moment but let's take a look you I guess needs to be scaled a little bit this mask is awkward you know I care you can see this is a mask is very flat and that person's face is not exactly flat so need to be worked I'm not going to go to that part but I just want to show you how to attach it properly to it now as I said usually what I create I create you know lift I should be okay the left eye position I can simply grab the mask and the mask has the two options position an anchor point that controls the position of the object working with the anchor point is a little bit tricky but sometimes actually create a better result so I'm able to technically connect the anchor point or position to one of these points I'm going to go with the position at the moment but anchor point is also doable so I'm going to click on the stopwatch with the Alt key or option key I'm going to expression mode and I'm selecting it to their left left eyebrow left i inner that's the one I want to connect it to left i inner the moment I click outside of the screen or on a timeline here as you can see the mass shifts because if you notice that I use a left I inner that is a left i inner right the moment I've done that have you noticed the Anchor Point or a position of object the Anchor Point itself lines up on top of it like this so let's take a look I'm making it half transparent so you guys can see how to look like there once I've got daolon linked in then next of it is a piece of cake because if I need to Center my mask on the guy's face I can add just an anchor point of course for an anchor point adjustment there is a shortcut shortcut is y and I grab the anchor point funny is I grab the anchor point but I cannot move the anchor point what I do I'll move the object look this is a craziest thing ever isn't it and you have to do it in the opposite direction if I want to move it to the left or right I just drag the mouse in opposite direction now what I'm doing there is because an anchor point is locked into the that point I know it is funny because you thought I'm going to grab the anchor point and attach the anchor point to it but instead I attach the position but the position anchor funny I told you don't link to each other there are part of each other anchor point is a is a center of the position literally is a half the values so I adjust this and he's done and he's literally don't remember you need to adjust the mask outside of it this mask is not exactly great mask because I can see a lot of white edge in there has to be done in Photoshop I can go to a right-click interpret footage main and let's take a look at the I can't really do anything with the transparency because this thing has all four and maybe I can just pre multiply yet or ignore the transparency yeah the transparency itself is black I don't think I can do much with it maybe I could just use the white edge as a transparency it's gonna be a tricky one though I don't know made any difference yeah I highly doubt it but the result is done again this need to be worked so you can use any kind of filter you want in Adobe After Effects to work with that's the that's the part we have to look for distort something like a bulge or work anything that you can you can create so crank it into a spherical object but if I play it it should be okay look can you zoom out and again the color is not correct because of that white balance is all you guys can see that this is much darker than the surrounding background it just doesn't look right from the composition and the blending mode but this is not a class about that it's about the motion tracking usually when your motion track if you give it to somebody else to taking care of the rest of it to blend it make it look real as you can see there and also missing the shadow and everything else shadow should be easy to apply simply I select the layer and go to the style and select layer styling shadow drop shadow here this is just like a Photoshop and you can just adjust your angle I just your distance adjust your I will go with the size make the size much larger and then I put the angle I don't know where the light coming from here in this case but I'm guessing the light is more like Elna coming from the top and maybe I reduce the distance make a shadows bit darker and then I use option called spread the spread is called the intensity of a shadow so I reduce the distance and I just a spread I have to be careful with that with the spread and the size otherwise his eyes is not much visible so you need to do a little bit of a little bit of practice with this and maybe reducing a capacity a bit yeah the shadow does help there and this is not as flat it looks nothing more sitting there again I can sit down and spend a lot of time now the other guys eyepatch is literally the same thing I'm going to skip that part with your eye patch but you literally do they do another mask on the same layer you don't have to do anything else by the way because you can have a mini different mask and you can just track it so I can select a different mask on his face again I'm gonna turn the mask off I will call the sting for example left face and also I change the color of a mask to make it a little bit different I need to adjust by mass this this this and this should works the best and as you notice that Adobe After Effects now has a new option to put a color left space and I can just track the left base over now the problem is the footprint I'll use a left base after Vice can only track because of the the the face tracker is a one filter right and since I already applied it to that layer he applies it to this because it linked it so as you can see the link works if you need to have a two different objects that there are independent I can motion track it but I would recommend we create something that'll be different for example in this case I track this guy's face and it's kind of funny I track him taught the come on doing it and yeah it's some stuff in Adobe After Effects you cannot undo it is funny isn't it that the points are being transferred to the other gates face that's very strange I've never seen anything like that well learn something new today myself maybe there's a bug because it can't be because we decided to track the other guy's face not him anyway that's the bug couldn't couldn't happen like this because we never tracked him anyway strange very very strange we got to move on to the next exercise but by the way if just let me redo this thing to show you what happened if you have a two person oh yeah there's definitely there's an error message here because he tell me there's no action being linked to it that is correct so let's say if I want to track two person at a time I'm going to remove everything here just that just do it very very quickly I'm going to track this guy's face one more time but I need to track somebody else's face the guy on the left side how can I do this thing with the two faces I use I just my layer or a Solman layer after effects can do that easily so I go to the beginning of a timeline I already have this thing I create a new adjustment layer or I create a solid and then I turn it to adjustment layer I'm just may as well just create just more layer I create a second mask on adjustment layer right there once I create a second mask and I just my layer I'm not even bothering to rename it I should be able to track this guy wait for it there after five tracking the guy on a left side but would not disturb the guy on a right side because a guy on a right side using his own lair now as you can see one of the filters Isana is on adjustable later the other filter is on the other one on the other guy's face so this should be easily done just like the before I can simply grab the picture connect it to the left eye for example where is my anchor my position here it is so I'm going to grab the position connected to their left inner eye that's done so if I select the layer it goes on the original guy's face right there and then I will grab an eye patch by the way I've done with these layers this layer and this layer now I don't want to see them because it might cause a problem after I locked them on make them into a shy and I hide this shy so they are done the motion tracking works and everything else is there so I don't need to accidentally touch anything I'll go to my project and grab an eyepatch place the eye patch on the top and obviously I will scale the eye patch to fit it on the other guy's face something like that will do which eye is it anyway oh yeah beard eye again this requires a bit of a working to be able to you know adjust the edge I'm not sure how will I can do this thing but not a problem if you need to fix the age just make a mask on it make a mask something like this you know the mask doesn't have to be anything special you should just just cut the edge out and you can feather the mask to you know make the edge a little bit look nicer if you have to so that that does it nice blend job looks like he's going under the Hat it's not too bad again the color is off that's what doesn't look very good but you should be able to fix that easily with the color correction class that Y showed earlier in the week you can if you guys remember that by the way After Effects is the same color correction that you've done in Premiere that's right you have the luma tree scopes and you have the color correction luma tree so is right here and the luma tree scopes just follow the same steps and you're good to go and this part is easy now because I do have the face and this time I will use the left eye coincidentally left eye the inner eye will work for the eye patch as well so I open the position and Anchor Point I'll use a pick whip and I connect this to the left inner eye again when I deselect the screen the eye patch definitely shifts you already knew that so I'm gonna use a shortcut Y and move the anchor point and I reposition the eye patch as you can see the mask also moves with it and he's done so this hour often if you really need to track two things you can just apply it to that to the lair or you can just apply to that adjustment layer by the way the first one could be I just uploaded I just Malir to begin with you didn't need to apply it to that to the layer itself and here you go I have a two layers and the eye patch looks a little bit more weird if you look at it very carefully because the guy on left side is he rotates his face so this thing need to be a worked a little bit more but overall is not too bad for the little thing I just done I'm going to close this project and move on to the third example of a motion tracking the third example I'm going to show you guys is this this is a very different type of example in this example this is just a video of a car I have what I want to do is I want to add a few things you've probably seen in Discovery Channel commercials that an object like the color moves an aside and then as their car moves an aside they will be some sort of some sort of banner like you know the little banner appears here and it says for example white-walled tires and then pointing a little line to it and as a car moves the line is attached to the tire of a car and then for example we put an old thing called chrome restoration and then we pointing a line again to this chrome here now of course in order for the video to move and these text moves with it and there's a line pointing to this specific spot we need to track the tyre of a car or the chrome of a car and this is a much trickier than those two previous videos I showed you first of all the tire constantly rotate and changes the perspective and then the chrome doesn't exist very much here and then appears later on while there's a little bit of chrome here but doesn't look pretty good or let's say talk about headline restoration something like that need to be applied from time from a certain time to certain time in a timeline not constantly same thing with the Tartar stops around here this records something called a point tracker in Adobe After Effects now what are the point trackers the third type of a tracker used in movies more often than the previous trackers are showed you sure the mask tracker is used usually used for tracking someone's face to change the color change a change you know change the eye color or something else because you cannot put a dots or reference points on someone's eye or a building you cannot just put a dots on the building to track the building or a car so those are the one they use however what about the green screen this motion tracker method I'm gonna show you in a very basic form is designed when you have green screen now let me look at the green screen lesson here nope that's for black no no PS that's the one green screen 4 s 42 let's take a look at this one there now in this case the background is a green screen they put a bunch of dots on them a brighter shade of a green and what's happening is the camera rotates and they something happens in the background and they're so they they looks like it's some sort of explosion and then try to duck from it which is fine the thing is the dots in the background we present how much the camera moves because when you are just a solid green and you don't know how the camera rotates you can see people in front of it but creating a rotation based on people is a bad idea because if you try to put a fake background behind the scene let's say a city background or something like that that will cause a major headache due to the fact that the perspective is off so we need to track those points then next step tracker in other Wi-Fi is called track pointers let you to track those points of course this is a very hard one to remove because once you pick a track pointer some of these track when this goes through their head and that's making them much much much harder to select it you're probably seen in movies they have crosses and the dots in the back that's what this thing is for in a very basic form I'll try to track something and connect it to this tire air valve Wow looks like a dice isn't it yeah it is a dice right so I'll go to the beginning of a time line and I'll go and select the option called motion inside the tracker when I select track motion Adobe After Effects opens a layer for me automatically and it gave me a one tracker pointer now the track pointer tracked points like the green screen when I showed you you need to have something that has to be visible and has to be preset in this case my my mileage varies based on how good this dice is actually is the tracker works based on few options these are options a tracker can track objects or a points technically not objects based on our g RB g RGB channel lue luminance or saturation depends on a lighting of a scene or how people can what softer they use and what kind of tracking they want to use what kind of feature they want to add to it they decide to put those ping-pong balls on at different surfaces with a different color in this case this should be alright if I keep it to RGB not luminance because that's it's easier luminance probably works pretty well when I'm dealing with a chrome part of the car so I will move my tracker pointer forward as I'm moving at the track pointers give me little magnified glass by the way just kind of cool right there if i zoom into it enough you don't see the magnifier but if you zoom out this year to show you a little magnifier I'll usually zoom in so let's talk about this track pointer what exactly does and how should I use it first of all the inner rectangle is the one that after-effects tracks this does the area for you when looking at the textures that patterns and it tracks that object for you so this is a bad idea I want to make sure the pattern is visible and especially the color outside of it has a very unique RGB because this is a red and outside of it is kind of greyish so after the fact should be able to track it decently there is a plus in the middle that plus is the point that Adobe After Effects actually creates a keyframes in that spot so your anchor point is literally here don't move that dot unless you have an event have a special idea and then the outer rectangle controls is called the tolerance so what's a tolerance tolerance means if I go from one frame to the next frame and if the camera shakes enough and this dice appear outside of their outer rectangle then after-effects cannot track it for you so the outer rectangle is based on how much camera movement applies in this case the camera moves very smoothly so I don't need to worry about it too much but remember the car explosion I showed you earlier from a movie traitor whoa that's the hard one because you gotta use a car headlights or a front bumper or the window or side mirrors and the explosions and it creates a lot of headache this looks good to me then I will look at the option the tracker needs position is good enough I don't need a rotation scale because Charles on pull back and forth and camera doesn't rotate so that looks good all I need to do I'll zoom out a little bit and track it forward after the fact as you can see tracks it he locks into it if something goes wrong and my tracker doesn't look good I will stop it immediately the moment tired I kind of stop it at any time I want the moment tire he's rotating enough because remember the car is rotating and had dice in here becomes invisible eventually after effects will lose track so I need to stop it back then so I'm gonna go forward wait for it notice that is start losing track if it's so losing track I need to go back not by using an analyze icon I'll use a shortcut like up and down arrow key sorry a page up and down after this point is actually pretty good after these points is start getting a little bit off so I can correct a size of it give them a little bit more room to to maneuver and I can go and overwrite the all the next keyframes that looks will be better I can constantly correct as I go forward you can go frame by frame this is a time-consuming and expensive but every movie that's better isn't it and eventually it stops because he can see it anymore I've got the information if I'm happy with the tracking information I apply it everything looks good if I go to my timeline expand it after the facts already applied the track your pointer give me all the data I need I'm gonna close my lair and all I need to do in here they just create a layer I'll create a new huh what should I do do I need a layer or I need a composition you know what I got a better idea I'll create a rectangular shape oops I shouldn't select the layer right I just need a shape here it is you i right-click on the shape select recomposition I'll call this thing banner so I go to my banner and this is a shape I'll create a text layer here I just call this thing white wall tire I don't need to type it in to simplify this exercise and I'll make my text white so it's easier to see it put it right on top of it paragraphs in or justify that looks good it's just going to make my character a little bit smaller to fit right in the middle of it something look like this now my shape could be off I show you no trick there this is center of a composition so I will select these two guys I'll move it to the side and I might just make a line also the line should be done with this as you can see I use a pen tool just draw a line and I make this stroke to the white is fine and I can just go to the shape and if you want I can open the shape one path one a stroke change it to the round cap so that loin is not see is not hideously flat nice and round so when I go back to my screen it looked like this right I get I'm making it super basic here it's some of you probably prefer to put this thing underneath off the other one you can prefer to I don't know make the line longer or shorter doesn't matter again I'm I'm trying to simplified here this design of this banner itself could take a couple of hours if you want to do a good job but what I want to do on a link dump so when I press the position and an anchor point there's option called a feature center the feature Center is actually center of the of the Anchor Point I need to connect the anchor point to it not the position so I will use the anchor point position works as well again as I said they are linked to each other so I'm connected to the center feature now look what happened as the car moves the logo moves in opposite well that's kind of moves in opposite direction you know what I'm going to connect it to position this should this should fix it by the way you need to write a script 2-1 into it if you go over the anchor point because anchor point always going to backwards look what happens yeah if you remember when I use the Anchor Point tool by pressing Y when I move the anchor pulling downward it moves upward so you need to do a times minus one and it should be all right look at it now right there now of course I don't want to point you to the dice what I want to point out I want to point it at the tire not the dice the dice was the the point that I want to track it so I can use an anchor point and then here point it to the tire so when I play it look what I look like I'm going to start with the next project it's going to close this project completely and I'm going to clean up my workspace I just choose my shams marcha special there we go that's a nice clean one I will import a file in my project let me go to my Alec online motion tracking I need to start with this one this is an easy one to understand how Morcar works later I have a couple other clips that I'm going to show you guys that we're going to use these guys later on so I'm just going to import these clips that I also need to import there we go so this is going to be our local project let me show you this clip this clip obviously short professionally the resolution is not exactly very high it's 960 by 540 24 frames per second what is shot in a slow motion but has a very nice color it's Apple ProRes proxy video format and as you can see it does have a very nice very nice motion to it right there and then I have another club here this one and then I have the third one this thing I'm going to make this thing easy by selecting only one of these clips but what I want to do order put this logo on the car on a door looks like a dish has been printed on the side of the door but you guys can have a video of your own car and put a racing numbers on it this is number five number four something like that that you see on a racing cars but without actually painting or putting a decal on your car but I can put something like that on it once you learn this trick you can use your phone literally shoot a video of a city bus that moves the pass by and make a Photoshop some sort of poster that there is a picture of you on that says you know what for as a mayor or something then you can just paste it on top of it and then after the facts can track it and then it looks like you paid the city bus company to to put a banner on it and just make your friends impressed how you kind of afford it like that but I'm gonna start with something simple none of these things trust me can be tracked the way I showed you earlier you can use a 3d camera tracker whatever after effects cannot track these things and this is a Ontario license plate that I made in Photoshop so I will try to fit it at the end of this car so I'll put a fake license plate on it now as you can see lot of commercials when they shoot videos like that they shoot it in England or Germany they don't know where they're going to market it or they should have in the US but they want to have it for the Canadian or for Ontario only you for a Quebec or for a Calgary they can let you to choose a different license plate I can track these license plate parts the way I did the tracking of the previous is just going to make sure yeah everybody's mute so there's no audio looping there I can track this thing and then I can put a license plate on it so the license plate can be faked and can be placed on the car as a car rotates all of these things I have to do it with mokhov because After Effects wouldn't be able to track it and starting with this exercise now this is an easy one because the video is not a very large dimension is a 720 by 480 but unfortunately the video is in interlaced video to make it even worse is an DV NTSC if I magnify you guys can tell how bad this thing is look at it try to sue them up the best you can buy try to fix the fields but this is the in a laced video so no matter what you do is going to be a low-resolution I'm going to make a composition out of this thing in this exercise I want to create something very cool lot of times this is by the way not a great way of doing this if you plan to do something like this on your own home for example you want to create it looks like a movie Blade Runner by the way I'm gonna do that at the after lunch the next session I'm gonna I'm gonna create a scene from a movie Blade Runner from scratch and most of these motion tracking I'm gonna use will be applied to that today to the afternoon session as well so the the monitor itself it works the best if you make a monitor with the very unique color for example you guys can make a miner into a green screen I just put a green pictured on it or go to Photoshop make a green background and then put bunch of crosses on it I can put a cross in the middle cross on the side and a four corners all of these crosses you put in there help with the tracking unfortunately whoever done this thing didn't plan for it properly so to give us a very low quality video footage and I end up with something look like this if I go and do what I've done earlier with Adobe after effects remember the the motion the tracker panel i had i can select track camera because technically camera moves right so let's take a look see what happens in what do with some okay job but I'm not holding my breath this is almost done as you can see I'm at 99 100 frames is solving the camera let's see what happens he gets some decent settings but when it comes to this screen when it is screen I have one point two point and three point and this is not exactly correct you see the perspective is off and as the video goes forward have you noticed one of the points that I need for tracking disappeared so look at it again at the very beginning I have three reference points one two and three so these are seems okay I should be able to get away with it these three triangles but as I played a video forward you realize I lost one of them and then suddenly there's a three more coming or four more coming the problem with the Adobe After Effects motion tracker with this camera tracker is he creates the tracking point for me he won't allow me to select what I want remember the car I wanted to track the tire so I have to go pick up that red dice as a vowel on an ATAR air valve to be able to track that specific point that's what I said if this one was a green screen usually they make it green because it's easier to create a green screen and then you can use a chroma key to knock the monitor out whatever you want on it but by putting across is an X on it you increase the chances of having these points on it more more more higher the table was easy to do easier as what I said I'm gonna start with the easiest one because a table if you remember has so much textures on it the wood itself at the Lord grain the Statue of David and all the old fancy stuff they had enough track pointers that could steady is staying within the whole thing and look at the table here as I'm playing it that dots were like a Christmas lights to turn on and off the only thing I can track properly decently is whatever this white thing is what is that thing anyway this thing is look at telephone this video is old so I have no idea what this thing is maybe it's a radio I remember one of those modems I had those Motorola modems cable modems that's an old stuff you can see the monitor it looks really old so brings us to tracking the surface of a screen I need to track the monitor itself we need to use a program called mocha mocha obviously is more powerful than what the tracker in Adobe After Effects offers but don't get me wrong by saying why don't you use mocha for a first or second or third or fourth example you showed us today well here's the thing there are multiple trackers available mocha is a planar tracker planar tracker means it can track surfaces of an object which are flat he cannot track a curvature objects for example mocha is very difficult to track salons I or-or-or a pupil part of AI with Adobe After Effects mask you can do that or track someone's nose or the points that I did earlier with that the two gentlemen and I put a patch in there and a mask those are difficult to do with mocha mocha can track their hats or they track the building behind it but not everything so you have to understand what you want to track and what is the best tool you can select and track it obviously I do the After Effects mask tracker and a mocha you have something in similar they are overlapping each other by quite a bit but sometimes one of the trackers may not work as well as you hoped so you have other options that's why I do be bundled Adobe After Effects with mocha is part of it is comes with it it's free so I'm gonna select track in mocha mocha used to be a an external program is still it is but in if you're the CC 2018 mocha didn't have a plug-in or wasn't a filter mocha was a different program you have to copy paste the keyframe it was a nightmare that's right he said that he sent the video to mocha you had to track it and then get the tracker pointer as a keyframe then you have to copy it and then apply a filter to Adobe After Effects and pasted it was a nightmare today they made it into a filter so you can turn it on or off the beauty part of the the mocha as a filter is if Adobe After Effects can open the file the video mocha can open at 2 so there is no video encoder missing or anything else I need to of course track it in mocha so I'll click on a mocha icon and what he does he opens mocha program let me show you what a local look like this is what the mocha look like mine opened in the second monitor so I'm going to maximize it mocha has multiple interfaces this used to be how the moko look like the original mocha it's a very complicated program and this is a normal one them the PRU one is almost the same thing has a bunch of extra options like a three or four extra options you guys can search online for a mocha Pro versus mocha and there will be a very short list but those short lists are very important for for example a Hollywood movie and level special effects so if you have a money and you'll want to grab a getter motion tracker I won't even bother with mocha I will get a different motion tracker is called the cent eyes this this is the move the move one of the most powerful motion trackers and is not very expensive by the way these are like a couple hundred dollars if you want and you can just download the free version of it this is the one most of the movies they use mocha also is very useful but the scent eye is a more powerful one if you ask me so let's take a look I'm going to put my interface to essentials because this make it a lot easier and is more simplified a couple of things in mocha you have to understand that I need to select an area or create an area a bounding area that I want to track I want to track the monitor remember I want to track literally inside the area this white screen but I can't just tell mocha to track the widest screen for me why because mocha track textures inside the selected area not much of a textures happening in there it's just too white that's what I said in usually in movies despite is a green or a blue whatever they put a cross on it that cross becomes a texture and a mocha can track it really well since there is no X on it or a-plus is not going to help me so I'm going to go a bit further than what I want I need to select the edge of the monitor that's the tricky part so I have options on the top one of them looks like a pin with the X on it as you can see there's a multiple pen tool these are not a normal pen tool this is a called the the I'm gonna usually use a explore the pen tool when I click with that pin tool on a screen as you notice that he creates the straight line I click on the edge and I want to click down here notice that you actually make it into a connected one he's not the way I do beef works I know we get used to that Dobby Photoshop or illustrator that you have open path when you using a pin not a lot of software's it don't work like that because MOCA tracks a surface the surface must be a closed object I told you is a planar tracker so they made it easy I'll click here then I right click on a screen because I don't want a fifth point now obviously this is a kerb I don't want this thing so I can move the point out now remember I told you all gonna actually track the molecule not the inner part of the monitor and you're gonna say well this is a curve this gotta be rectangle will be easier absolutely so I grabbed this node at the end and I pull it this can adjust the roundness of it I'll need to do it for all four times four corners there then I will bring the node closer to the edge I don't need to put it perfectly at the edge remember I need to track the surface of the monitor I need to track the texture what's in there like I need this don't worry I'll put the video inside the actual monitor what I need to track it now this is not good enough this is a surface of an area or telling mocha that I want to try so mocha will look for these this pattern and it tracks it however if I select something called a show grid this is the most important part this grid if you look at the grid the grid will appear in horizontal and a vertical part so if I bring and logo remember I had an AE logo that little circle one if I put a logo here the logo will appear like a circle like this with a word ayyy on it okay just imagine as I'm tracking or the monitor moves have you noticed that pink grade doesn't move with it just imagine if I don't set this thing properly the logo will be in the middle in Islam movie that pink grid must follow the surface of a tracking area if you don't then the object will not work properly so there is an option here called show surface when I press on this little s the surface area I'll better turn this thing off this is where your logo will look like as you notice that the logo doesn't look like a monitor I want to know about to be on the monitor so the move has to be based on it but in this case is not so on make this thing is smaller then I can rotate it you remember cannot just a perspective to be careful this perspective means the logo will become angled like this so I will make sure this look like edge of a monitor now I'm guessing here be honest with your eye need to set it up I'm gonna give them a little bit of distance you don't have to make it exactly at the edge as long as it follows the perspective of the monitor and make sure rotation whatever you need to do this must have a proper perspective so let's recap the red rectangle is what mocha will look for and track the inner blue rectangle is when you connect it in Adobe After Effects to a layer that layer has a transformation values now look what happened when I click on a grid have you noticed the grid matches if I bring this thing down to this thing the grid will rotate warps think about it my logo will appear like this let's go back a little bit to the first exercise I showed you do you remember I said you need a three reference point at the table at the surface of a table then I then then Adobe show us bunch of rotating discs circles and I said this is the most important part I need to pick three reference point on a table so the grid has to be there so when I put a text on it the text follows that grid this is the same grid except in Adobe made it simplify pick the points for you and then you need to pick three reference points and then making sure those circles or within a proper perspective if you've done that then you are good the problem with Adobe After Effects is because he picks the points for you make it difficult for certain surfaces to be tracked you like in this case the molecule I couldn't get enough pointers for the surface of a monitor now I can so once this is good I don't need to see these guys by the way this is just you just said adjust at once because the monitor rotate doesn't change your perspective on accordance it'll be different I'm gonna go to the tracker and I have an option for a track the position the transformation that means X&Y his scale is the desert the zedopp rotation and askew I don't want to click their perspective track icons are easy tracking forward tracking backwards I'm going to click on track forward let's take a look more car pick the monitor and track it very very nicely is actually decent I'm looking at the edges I if something goes wrong I need to stop and I need to correct it MOCA creates a lot of keyframes at the right bottom corner these are keyframe icons dad like Adobe After Effects I'm able to fix it it's almost there mocha is a very CPU tense program there are some graphic cards or available to accelerate mocha but they are not like Adobe After Effects or premiere they don't work with all graphic arts so you better look online for the list of a compatible graphic cards despite I have two graphic cards are the most compatible with very much anything on this laptop when I go to preferences there's a GPU and it says my graphic card despite is there is not one of the supported ones so if I enable it I'm I'm on my own it might crash the software I'm not gonna take a chance beside I like the motion trackers to work slower you wondering why because if it goes fast I can't see it if something goes wrong I cannot see it I like to go slower so I can see the edge and I keep tracking and making sure everything looks good so far so good remember this is a very low quality video by the way if I enable my surface area have you noticed my surface area and my grid shows the monitor if I play it by the way these are a playback icons these are tracker icons and these are the keyframe icons so I'm gonna go forward and play it you notice the great works beautiful I'm looking at the edge of the grid the great distance between a left right and the top I'm talking about these guys this distance right here and this one two three by three boxes I have in the middle I want you guys to look at these things so the edge appeared to be almost half and I have a 3x3 in there is that the case throughout the video let's take a look it is isn't it one two three half and half as I play the video right there if I had those if I had an X in the middle and if I had or a cross in the middle and if I had a cross on each edge my inner rectangle known as the show surface tracking data this blue one is a tracking area if that's the one provides a tracking data would it be better mine is a little bit off by the way when I'm looking at the bottom of it unfortunately I didn't do a good job on this thing at the very beginning he was slightly off but because this is a just a working prototype I'm gonna go with it I'm gonna change the layer name to monitor by the way you can create I'm not sure there's a limit to the layers here some people says 32 some purposes are limited I don't really know I have never selected more than a 5 objects in mocha to be tracked at the same time so you can create a new layer here and then put a new tracker and track the table after effects will have access to all of them looks good I'm just going to leave it to the one layer I'm gonna go to file and I'm gonna exit of course guy ask me or do you want to show you wanna save it absolutely unmask a knit so I'll click on save now when I go to I do the after-effects mocha closes by the way I have multiple options I'm going to click on create track data when I click on it he asked me what layer you want it from aha remember I told you you could have at ten different layers you gotta be careful doing mock up you can only select one layer at a time so if you have a ten layers you have to do this thing ten times I select the monotron you may need a different layers like adjustment layer order order yeah most luckily the multiple have just one layer so you can send the data to them otherwise a layer cannot have so many data in there okay look what happens I got a four corner points and I do the after-effects and if I play it make sure my player has the yeah the bounding box if I play it you guys see the corner points there that was then white the blue rectangle I put it at the middle of it if you guys remember that's called a the blue inner one the data now when I expand my layer in Adobe After Effects this stage you used to copy pasted from mocha thank god Adobe in CC 2019 and Boris they made a mocha as a plugin when I expand it you have tracking data and here it is top left top right top bottom center rotation X & Y X on Y doesn't work because we don't we don't really change things too much in here so this skill is fine and then as you can see there's an option for a corner can corner pen with motion blur and then transform I'm gonna leave it the corner pen I would like to for example connect or connect something to this thing I create a null object one of the best thing you can do is create a null object remember no object is literally an object is invisible and you can do whatever you want with it so I'm gonna grab my knob and I'm going to rotate it oops making sure not rotating a layer only rotate in a null here I'm going to rotate the null come on now and also I'm going to put the null right and the edge if you prefer doesn't have to be like that can't put it right in the middle of it if you want to and I can make a null is smaller too the reason I put it in a corner first because I want to make sure the null perspective is correct all of these things will be change anyway when I link the null so it's fine I can just leave it like this the number will be changed so something looked like this then I need to connect a null to this there's an easy way these days rather than a copy pasting it but I select the tracker how do you notice there's options as corner pen corner frames one of the best options you guys can use because corner pen ah give you a corner pen filter corner pin field has a four corners that let you two work objects transform not my favorite because he gives you a position is scale and rotation that's all but if you want to work it you can do that I'm gonna go with the motion blur support you know what I'm gonna leave it the corner pin by default he asked me what layer you want to export it to I wanna explore it to the knob when I click on apply if I expand my no live you noticed that my there's an effect nap called color pen and look what happened to my no I did not move my novel in the middle of the screen it moved up by itself and look what happens No has a lot of key friends I know you don't see the null moves by the knob chief and actually do move if I undo this thing and I choose an option cornering with motion blur and I redo it again the moment I applied to the null he applies it with something else at the bottom with a transform now the good news about the motion blur is with the transform because he applied a position rotation and a scale to it with the corner point if the if the camera rotates like this you probably know is that there's a motion blur into the camera right there you guys can see this thing has a motion blur so if I put a fake logo inside a monitor don't you think they should be a motion blur selecting that transform alone only give it a transform option I need a corner pen and I need and I need to motion blur so most of the time either I use a corner pen or I use it with motion blur in this case I'm gonna leave it with a motion blur so let's take a look since the Anchor Point is off the hook that's our scapegoat remember Anchor Point helped me to adjust the position by pressing Y I've just seen a position of a null object I just gotta make sure the layer is locked and I'm gonna be grabbing a null object you see the keyframes so I should actually touch the our I'm better but just move there there move it like this it's very dangerous sometimes to select the wrong one because if you grab a wrong object it just messed things up a little bit so once I get this thing if I play it I better deselect the screen so you guys can see the null itself is the center of a screen by the way if you need to do a little bit of adjustments rotation is not part of the transform so I can use a shift part either rotation actually sorry it is huh I thought I'm gonna rotate it more you see that's the problem when I create my motion tracker I told you the center the right edge wasn't exactly there doesn't matter again this is just a exercise I'm gonna grab something very cool the same molecule video this is called picture-in-picture I'll put this monitor above the other one this one if I make the monitor child of the of the null object anywhere the gnaw goes the other one goes yet you I can make the monitor smaller you there are multiple ways you can do that I in this case I'm using a parent and a child because remember when you have a parent if you move their parent the child moves with the parent but child also is independent from the parent the advantage of this one is it's not like the earlier exercise I've done that everything linked to each other and I had optional using your anchor point only no I can grab this thing and I'd literally do whatever were one with it I can rotate it I can put it to half-transparent so I can see the screen I can put it anywhere I want and I can scale it independently ah more than all I got a douche I gotta show you something even better this is screen he's not exactly four by three so when I had a scale the actual clip to fit perfectly to the top and a bottom an endo with a little bit of itch problem right there I don't want to squeeze the video to the to the to fit it perfectly because my tracking was a little bit off I'm not I don't care about this thing you know I can create a mask in this thing right look the mask moves with it because mass attached to a trial child attach to a parent parent attached to the motion tracker from local confusing enough the advantage of this method over for example linking it the way I did it earlier is I have the world of options to fix this thing for example I can fix the mask really perfectly at the edge of it this is like in a photographs isn't it single frame that I can zoom in and with this precision how can I just who cares if the the background get will be cropped out I don't care right there as long as I got them tracking data I'm fine unfortunately I feel a lot of people just try to link in the two layers and then they realize if they're not perfect with perspective or it doesn't look right they run into our major major issues the edge wobbles and whatever I don't care this thing by the way the mask you all know better has an option called a feather right so I can make the edge a bit more feather and when I play it if you live like this the edge looks perfect so you haven't monitor within a monitor let's take a look you how's that look like again I'm not trying to you know blend things completely to make sure everything look correct using a blending mode anything else like that not in this case but I just want to show you how well you can track it there's no way you know don't be after effects you can track that directly I've done it before I just wanted to see could I sometimes you know I have nothing else to do so I try to challenge myself see can I do this thing by the way you know I can track the track it's kind of funny isn't it with a new moco I can do something about crazier I can create a pre composition out of this thing mr. mr. monitor now I can go to look this one doesn't have a mocha I can apply your mocha to this thing send this thing and then I track the inner one and if I repeat the same thing I have the second monitor sits in the middle of it I have a second monitor I cannot just duplicate this layer trust me we won't work that way so let me show you a final of this thing that I've done the reason I got to show you the final version of this thing maybe I should import the project because it'll take much much much longer to do it and I don't have time to repeat the same thing twice it'll take forever but I believe is here look at this one this is the same project now look at my first first one yes then I create a pre composition and I send it to moco again now look I have it to pre compositions so I I send it to mocha twice look what happens there I'll put one within each other one that look like this I could do the same thing over and over and put a two more in there definitely you can but if you keep an eye on it you can create a very interesting video you're probably seen a commercials like that the Chamber of Floyd's to another one and so on because I need to show you the car I'm going to move away from this project and let's start with a car I'm gonna start with the license plate this video is very long so I'm only going to do little part of it I'm glad I start from here for example to here I'm just going to create an out point in the video so I have it from here to here this is a very long clip based on this clip I create let me double check my in and outpoint my duration is sorry le toumelin take a quick look at my duration my column media duration this is a one-minute and eight I need to create only the in and outpoint for it so I'm just going to use the NIDA new to create a new composition that's problem with this thing is if I use an insert or override yeah yeah this duration is good but I need to make a new composition of this thing I can just drag it to the new composition unless I turn it into a composition I'm doing it really backwards by the way because I'm I don't want to go and type everything correctly again so here this look and don't worry about this thing I don't need it from here so I can delete that composition from here but I still have it there so I have a composition that is exactly what I want it well that's like still way too long doesn't matter I'm gonna make it work area like this after effects sometimes becomes a little bit tricky to to work with it because it's not like a premiere right it doesn't even use a insert an override it use it in an outpoint add it to the new composition but if you try to make a new composition out of it it just completely completely as you sell ignore what I have tried to do but doesn't matter I have it there I don't want to spend too much time with Lokar because he takes forever to render it so on try to simplify it so I'm gonna go to MOCA I click on interface MOCA starts and I'm going to double check the duration oh yeah see MOCA completely ignored it because MOCA picks the clip itself so if your clip is 20 seconds long that's what you get so I'm only going to track it by that much I start by picking in the spa that is easy for me to see it right here because here's it'll be too too late to eat too late I wanted here what's a tricky thing about the car is the car actually works if you guys notice the shape of the of the of the trunk of a car actually technically engine in this car is is this way and as a car moves drifting that's what is this is a very difficult one to do so I'll start with this this is more like a somewhere in the middle I'll zoom to my screen by the way zoom in here is a control is just a magnified click and drag upward something like this then I use my spline and I need to select this part of a car something that mocha can track easily this mocha can track - definitely hoo changes a perspective howl see what about the exhaust you know what they have a piece this blue here these things for engine cooling that actually looks pretty good so I make it into a shape I want to put it right there I will pull this thing to make him into it come on to rectangle just like that and I'll try to add just the shape the best I can this doesn't have to be very technical yeah I don't need the exhaust I don't think I need that I'll see something like this now I'm going to enable the show surface surface is the surface of the license plate I'm going to add in there so this has to be matching the the plate one of the easiest thing I can do here is use the license plate itself as a reference I'm going to zoom in more and had just this to the actual plate because then I can see the perspective if it changes I can just track it based on that you should be able to track it based on the logo or the whole rear of a car but that looks okay when I enable my grid my grid look perfect my grid now matches the shape of their rear of a car I need to track it backwards because I haven't done the tracking from the beginning of a time line yet so the good news is I can do this then I will enable my perspective also in case click on tracker to see what happened remember I need to test this thing may work first time may not work so let's I'm crossing my finger I'm gonna see what it would look like and this frame number I don't be care about the frame number what's the number here at timecode okay I'm good he does it this is actually pretty good have you noticed that he's actually doing a rotation and After Effects cannot do that not with the built-in and I'm when I'm looking at the grid that three of them in the center and a quarter on the edge I'm looking at the pattern there you guys can adjust the size of a grid like a scale degrade but I don't recommend it as you can see my laptop you probably can hear it the laptop fan are going crazy this is a very computer oh yeah 100% CPU all cores are working together with a two graphic arts yeah so this is not bad this is not bad at all you I'm gonna go forward you see what it will look like how far I can track it you that's actually getting much much better I'm not going to spend too much time because I need to track something else also for you guys and I have about half an hour left so I'm going to stop right here I'll go to file save project and I'm going to close the reason I closed this thing I don't really need it because Moka has all in all the tracking data in there and yeah the tracking data is good so I'm just going to close the MOCA and Morcar technically is in the memory by the way mocha is running behind the scene the mocha engine is running somewhere within other we have two effects or outside of it somewhere in there mocha is running somewhere because the moment I click on a mocha logo it pops up and look at it there my laptop is very fast but not that quick when you're running the application to get to three four seconds to open it not that quick that's in to instantaneous that means the interface is hidden but is running behind the scene when I expand the the mocha option or click on create tracking data from a layer one okay notice that the knocking down a nice place on their license plate when I play it the license plate he's being tracked because that's what I intended to do now I don't remember how much I tracked it while I can look at the keyframes obviously I'll press you on my keyboard oh yeah I tracked it probably that's good my work area looks looks alright whatever it is I'm just going to go through here making sure everything is okay yeah the tracking is good my work area next thing I do again I'm going to repeat the same thing I'll create a solid if I don't create sorry null object on solid if I if I don't create a null object and I create or I'll bring my license plate in there you're able to use a license plate and use a corner pin to it bad idea because you the gap keyframes locked into it and you won't be able to add just a license plate to the car if you need to change a perspective unless your tracking data is 100% accurate which I've never seen anyone create a hundred percent accurate the tracking data even in movies they don't have a hundred percent you better create a null object I'll go to the mocha then I say send the corner pan with the motion blur - and I don't want to connect to any masks or anything that's I don't have a mask I just want to say uh ploy it now I have an all object with the keyframes right there again I don't care about the size of an object I don't have to worry about that but it looks pretty good After Effects is planar hopefully it's not going to crash because when I'm clicking on the timeline is all responding babies is still playing it yeah it feels like you locked me out from the controls I cannot click anywhere so there you go because I can click on anything else except that after fax is stopped so may I need to close After Effects oh okay it's really a strange thing when I click on a task II let go for some reason it was it was really weird - I never seen it like this ah most likely I'm running out of memory no I knew it I was when I was rendering it it was it was probably hitting a 32 gigabyte so After Effects try to use the hard drive instead if you have a less than a 32 gig ram make sure you have a very fast SSD or nvme hard drive so at least you can kind of piggyback on that otherwise yet things may not work very well I better save my project because if something happens I don't want it so let me just save this thing on my desktop and as a tracker mocha in case something goes wrong pass in next 10 minutes I'm good everything should be okay now I'm gonna lock the actual layer I will go get a license plate I'll drag it in their license plate definitely I'm made in Photoshop I always make things way larger than what I need and sighs at the moment all I want to do is look at the corner pen and look at the transform the thing is if I make I make the license plate will be smaller so you guys can see it if I make my license plate a bit smaller and I linked them as the car goes the license plate goes with it but license plates need to be fitted perfectly on that spot so I get an idea that some of you might find some interesting points in there one of the filters that you do need to use to fit their license plate let me reset it to the car itself is the corner pen filter that's right corner pen filter does this effect distort corner pen corner pen give you four anchor point I use this in Adobe Premiere quite a bit too when you try to fit logos and stuff like that in a wall corner pen let you to work stuff like this so think about it if I reset my as my shape like this with a corner pen I can make this thing half transparent you so I can see it then open the corner pen filter i zoom into it grab this point here grab this point I should not move it sometimes is easier to move that point you see points by this icon because you may accidentally grab the bounding box I can actually even escape the whole thing and do this thing instead why I never thought about just using a up left click here up right click here lower left click here lower right click here as I look like of course I can do minor adjustments to it later you you then I can put the opacity back to whatever he was obviously color has to be corrected you obviously you notice that but this this is just a the tracking part now obviously I haven't done anything to it what I want to do I want to make sure the license plate tracks the null object now I have a two option I can use it as a parent or I can link these guys to it let's see if I parent it parent locks everything unfortunately the position they're scaled the rotation so that might be better in a way see let's take a look you oh do you see scale yeah nope maybe the parent is not a good idea I'll turn the parent off and I open the decoder pin and I linked them the problem of the corner pen linking is everything I've done with the corner painting here will be ignored which is fine this one to this one don't worry things will look really weird because I need to add just a corner pen directly that should be alright so let's take a look where is my oh yeah see my license plate went up somewhere else yeah the corner prints are left right lower left I'm just checking it right making sure everything is correct this is correct upper right correct lower right correct yeah these are fine and then I need to connect a transform if I do that this should appear where my the actual object is I'll gonna double check it position to position a scale who is scaled to a skill going to be a bit tricky because I wish I could just adjust this scale and then the rotation to rotation it's getting better look so the only thing I need to address right now is the anchor point which is fine because I never really linked the anchor points right so if I adjust my anchor point our license plate properly you should perfectly line up like this we get down a little bit so let's take a look if I play it it should maintain the perfect link to it it should not become a scaled or anything like that he does work perfect you see the other one when I parented look when I parent that you guys saw something happened to it he was scaling down so yes is a more work I have to do but at least guaranteed the perfect result the rest of it should be easy I mean you got a color corrected and if I use a proper blend and proper color but blend you got to be careful don't use it blend like overlay whatever because the background was black is not going to look pretty good if I use something like an ad or something like a screen all of these things will be linked to a black it's not going to give you the proper result what you need to do you need to use an option for example like a color correction have to go to you correction something like a luma tree and I use a basic correction of the exposure I just need to knock the exposure down a little bit I'm guessing by the way I'm not I need to do a proper color correction using the scopes - no matreya scopes without looking at this scopes I am basically not looking at it properly so I need to find out where the highlights and shadows of this one is and then be able to actually do that otherwise it is very very difficult to do one other thing I can do with the luma tree I can definitely reset the license plate and let me see if I there's an option for a color match then I should be able to under the curves the option for a color match removals the color wheel with the color wheel premiere has it yeah the After Effects version doesn't have the color match unfortunately oops I thought they were the same I've been told they are the same they are the same but I guess I'm missing a one thing called a color match and I guess in video you need to match the scene from one to another one but for some reason after effects missing that little checkbox that you can select the the color match but anyway you get the idea about the motion tracking again I'm not here try to make things and matches otherwise I need to match the grain and so on adjust it but you see how much you can do with After Effects when it comes to the license plate there what I'm doing right now is a very basic form let me turn this thing off and it's part of look like I know the colors are all pretty match pretty well but that it's a convincing license plate by the way I have to blur it because the car is not as sharp that's the photo was very sharp you apply a bit of a motion blur to it you should go right now the car door is the same thing I have another clip for the car is this one this one if I want to put a logo a fake logo on it I'll literally select it again I need to make sure my your work area is smaller but again Moka doesn't really care about your work area so I'll send it over anyway I'll click the inner face and in this case I'll zoom into the car and I need to track the door now tracking the door is a lot harder than tracking the license plate because that obviously the shape of it so I need to select something that mocha can track I think this air vent and this thing around the window looks pretty good here's the door itself this loin is okay too but I cannot rely on it so I'll go with something look like this yeah I will try to track this shape the best I can I will even add the the the rocker panel at the bottom I think that's what they call the a pillar because you know the window itself and this thing has a distinct feature I'll enable my perspective and then I enable my surface the surface perspective has to be corrected because if I look at this thing note said this is more like a flat so the logo will look towards us but the car has a perspective so I need to put this thing on the surface of a door I need to make sure I'll get this thing right the door unfortunately for a car has very nice design to it so this part this door is a concave then this one is kind of weird so I try to pick and spot and I think at least perspective is correct I think this is rocks all right to me this now if I use a window unfortunately window is tilted the other way it kind of weird as I said this is a exercise I have to start thinking about it a bit but the perspective should be all right yeah looks all right to me now let me do me see if I track it what it looked like I do I'm gonna change my layer in one two door so that should be easy let's see crossing my finger looks actually pretty good I'm going to stop I'm going to zoom out a little bit because it's easier to see the perspective here I'm going to go forward by tracking it more yeah MOCA is doing a good job mocha is doing a really good job I don't want to go too far with this I will stop file I'm just basically visiting saving it and when I expand them more car track that all I select create track down from the door layer I should have all the keyframes here we go as usual I create should I create a null object this time just for fun of it or I let's let's just escape the null object I grab the logo let's see what happened if you guys don't create a null object my logo is illustrated mobile so everything looks good I'm able to still link this thing to a logo by using the options like this he should work is still there at least for the amount that I tracked you think about the logo right now is I have a lot of keyframes this logo has to be here and if I want to scale it whatever I can't because a scale is keyframe by mocha but the knowledge to a small law was supposed to be size of the door I can use an anchor point I'm placing what I want it but it's too small I get stuck after I cannot even do anything with this thing no that's not going to happen now you know why in in a motion-tracking world we rely heavily on not object I select a null and I connect the keyframe to it now here it is my tracking data stops here so what I would do is because I didn't track it all the way I'll make a work area around here so I don't have to go past that point then i zoom into this timeline something like this so it's make us not to wait too long there you go that's good now grab my logo again if I parent it the logo moves with it in this case I probably can get away with it rather than linking all the individual properties like a license plate because license plate was a bit trickier this should be alright let's take a look at it if I scale it to a lower number and by the way I can enable the option here called class transformation collapse transformation resamples they illustrator file make it much sharper so keep an eye on that but you might lose some of the effects though like you know motion blur stuff like that and the beauty part is I can still move it and put it to the size that I really want it I'll zoom in to it and I try to do something like this I put the logo at the top of the door and I try to scale it making sure the bottom of a door also lines up with there with the logo I'll make a little bit larger then also I'll put the logo at let's say this end right where the air intake is for the engine I want to see when I play this thing forward makes any adjustments to it no they'd load it you see it moves by the top and a broad topic a bottom moves to you can see the top moves so that's not good the spider looks alright the parent not gonna help me here just same thing as a license plate always give it a try you never know because sometimes emotion is easier that way well I guess we gotta do old fashioned way where is my old friend distort corner pen here's my corner pen and my laptop is going crazy with the CPU oh yeah eyes is having a thermal limit but the good news is doesn't slow down so it stays at 3.9 gigahertz unfortunately MacBook Pro I wanna get too hard we just basically slows it down to a level that is impossible to work with this gets hard and loud but at least it doesn't slow down I'm gonna press you on a keyboard to open all the keyframe properties of my mocha and you wondering why things when I parent and Link it white things doesn't work why things go sideways because when I'm grabbing all the keyframes and I linked them technically I'm doing a parent and a child linking there's a one thing I don't he's the anchor point the anchor point is the culprit anchor point is not being keyframe and that's the problem if anchor point was keyframe when I parented everything will work properly because deaths the black sheep here he doesn't work so I need to grab all the properties remember once you parenting something all the properties of this thing including Anchor Point will be locked into it you see that default anchor point for that is 640 by 360 but the anchor point for the null object is 0 by 0 that's why object start shifting you okay that's why things start shifting around but if I grab the link and link them one by one then anchor point becomes a relative after facts don't care about so we can leave the anchor point and we can readjust the position as I want I actually prefer that because I'm holding an option and clicking on those things by the way option or alt-click and grab a pick rib and connect it correct one with the anchor point option that is off the hook on the logo I can place it anywhere I want so in a way is actually helping me most of the time when I'm doing their motion tracking stuff I don't think about it like I can just talk about whatever I can watch TV and do a lot of other stuff without worry because this is just rotation to rotation is skill to a skill position to position I mean that's just a click and drag once I've done is right there I got all the properties linked up get a link there properly yeah so I will move the anchor point of the logo now why this thing happens oh this it must be a blog I never seen things like that this is a strange very very strange he looks all right but when I'm moving an anchor point mama mom every day you see a new thing yeah this shouldn't happen this is that this is a weird one I've gotta admit I've never seen this particular bug before when I'm moving the anchor point of the of the shape weird if ever I'm not able to move the position of it of the logo if I lock the locked in all objects I'm not able to move it because it locks into the norm so I'm not able to move the null neither because of the no lies a keyframe sonal has only one option available to me is the anchor point I can move the anchor point of the null around oops see I'm moving the moving a position so this is a tricky one yeah if I drag anything these are all have keyframes this is a strange you shouldn't have something like that unfortunately I'm running out of time but you saw the earlier that's what exactly I did step by step it worked on this one and he's a same thing corner points unless I connect the wrong one which I highly doubt it I just connect everything correctly last time and this time is the same thing I'm just going to double check it which is lit upper left to upper left upper right to upper right lower left to lower left lower right to lower right that is correct which is weird really weird and then the position is connect to their null transform position that is correct scale connect to null scale correct again and the rotation connected of null rotation let me remove the transform for a second and see where's my Louvre oh I should be able to move the logo around now my logo disappeared because this skin is way off you know what I'm gonna reset the transform and try to bring it oh yeah I crops again a there is it there's a weird cropping here what is that come from I remember remember that collapse transformation I told you gotta be very careful with this thing I guess I don't even listen to my own come my own advice yeah this I thought gonna help it doesn't sorry about that but at least you learned something today sometimes some option you enable that try to help you they don't and sometimes our sorting over is actually not a bad idea this thing I should be able to move the anchor point now there you go he doesn't cut it I will strip wondering about what the heck like why is doing that so I can put the logo all right there now you're wondering okay okay I need to scale it this is this is ridiculous this is just too small it just looks pretty good though especially if I use a blending such as soft light it just looks actually on the car but what happened if I want to scale this thing well I got an idea this may look a little bit strange because a scale of the null object is being keyframe there's nothing I can do about it and a logo I cannot really scale it because it's galo linked if I change a number here to something it's just gonna go bounce back again so I can make it to whatever size the moment I let go it goes back I write a code in there I say you know what multiply this scale if I'm looking for x times two this means he is scaled their number by twice now the low was twice the size because whatever number comes to it I just multiplied by two I of course I need to adjust my anchor point now the anchor point becomes also trickier because the number of anchor point the object moves is a twice the normal number I better lock it because if I move it a little bit it moves to work twice faster thanks to this scale times two so here it is it should be still the same spot yep now the moment I enable this thing to sharpen it off it messes it up there we go that's the problem that little geyser collapse transformation you apply the motion blur to the motion blur makes no difference in this case due to the fact this car moves slowly so let me play the whole thing before I wrap it up and here this you you can put a logo on the edge of a car you can go from there if I needed a larger scale because remember my null dictates this scale and a scale is at 90 something percent a scale is being changed and this point this is Adobe Illustrator file when you a scale it may not look pretty good so I would recommend like a license plate I did always import stuff as a very high-resolution this is twice the size of the video itself and make it a high resolution document this is a 200% it's a very clean one so try to do something like this and make sure to make it much better I'm done for this session there will be another Adobe After Effects class running at one o'clock hopefully see you guys in the next class if I don't see you then then have a great weekend and best of luck and hopefully you guys learn a couple of things in this series of classes and bye for now

Channel: EliquoTraining

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Id: 3SrQGfN7SDk

Length: 165min 3sec (9903 seconds)

Published: Mon Apr 06 2020