Advanced Rotoscoping in After Effects with mocha AE

hey guys and welcome to another very exciting visual effects tutorial I have recently released a tutorial on how to perform basic rotoscoping using Adobe After Effects and mocha AE and a floating bowl of carrots before you continue with this video I highly recommend that you click on this link up here in the top left hand corner and go check it out if you haven't watched it already while I did cover how to perform rotoscoping for fairly simple scenarios like an airborne bowl of vegetables things can get a lot more involved once you start to work with more complex shots therefore in this tutorial I want to show you some advanced rotoscoping techniques using Adobe After Effects and mocha AE and so this is going to be an upper intermediate tutorial I will assume that you are very comfortable using Adobe After Effects and mocha and that you come with plenty of patience to follow along with another exercise in rotoscoping but now enough talking let's jump right into the tutorial welcome to Adobe After Effects and the clip that we will be working with is a dolly shot from our Halloween Horror special for the ring as always if you do want to follow along you can find a download link to this clip in the description of the video the reason that I have chosen this particular shot is that it does present a few interesting rotoscoping challenges that i do want to cover in this advanced rotoscoping tutorial the task for this shot was to insert a screen into the TV in the background however because it is a dolly shot both me and selina obscured the screen in the background to add to the challenge both me and selina are moving and obviously the camera is moving across the scene because of the dolly and it pans a little bit and on top of that Selina is out of focus in the background so there are a few interesting challenges that we will have to deal with when we do our rotoscoping work now just like with my basic rotoscoping to trial for mocha AE let's first go into the project panel and double check the frame rate of our shots as 23.976 frames per second so we can make sure that it matches what we're tracking in mocha AE then let's select the lair come up into the animation menu and select track in mocha AE yep all of the settings look fine and yes the framerate is correct at 23.976 frames per second let's hit okay let's have a look at this clip in mocha and it is always recommended that before you get into the tracking part that you really look at your footage to try to understand all of the challenges that might come up at the things that you need to take into consideration now for this rotoscoping job I do want to wrote a scoop out Selina because she is obscuring the screen and obviously a little bit early in the shot I need to rotoscope myself out because I'm also overlapping the TV in the background and right here you can see the screen through my legs so we need to get that sorted out as well and of course neither me nor Selina are made from polygons with flat surfaces so obviously we will only be able to use mocha as a rotoscoping assistant and we will still have to do a fair bit of key framing ourselves in mocha you always want to track from the foreground to the background so you should always track the elements that are closer to the camera like my but first this way you will always have hole-out shapes that you can then use to track elements that are being obscured and sit a little bit deeper in the scene on top of that you always want to track from the highest detail down to the lowest detail so you want to start tracking where the element you want to track is as clear and visible in the shot as possible so right here is probably when my but is as visible and clear in the shot as it is ever gonna get and apologies for the choice of scene that I took but this is a really good example for some advanced rotoscoping so I just went with it one last note before we get into it with complex shapes like this you don't want to create a single shape to track the entire outline you're going to have to create keyframes for every single frame which is really a bad way of doing rotoscoping so instead we're going to create a lot of separate smaller shapes that track bits and pieces of the shapes that we're trying to roto we're going to create separate shapes for my legs for my butt for my lower back for my arms and then the hand probably gonna be two maybe three shapes so for the thumb and the side of the hand maybe in the inside of the fingers if we're feeling a bit particular that's enough intro let's get started tracking my butt because it is closest to the camera and about here is probably when it's going to get as detailed into the shot as possible so let's come up into the pen tool and let's draw a shape around my butt let's rename the layer appropriately I'm also going to enable perspective because obviously it's a dolly shot so the perspective on this well it's not really plain but on this piece of my body is going to change and let's start tracking backwards first and as this tracks you can see mocha is going to try its best to hold on to the shape and obviously it's starting to drift off a little bit because it's not a flat surface so obviously we're going to have just adjust that but I'm going to let that track through first and now that this has been tracked we can start keyframing this shape but do remember you never want to start creating keyframes right next to each other you want to keep the keyframes as far apart as possible so let's go to the beginning to the point where the shape is the most off from what we're trying to track which in this case is at the very beginning and let's start adjusting this shape makes you're going to zoom in a little bit and yes I'm going to speed this up because this is going to be a little bit boring to watch otherwise let's zoom out a little bit again and let's see how that looks maybe about here again I'm looking for the point where this is the most off maybe about here let's zoom in and adjust a few of these points technically I only need to row to scoop all of the parts that are overlaying the TV screen because those ones I'm going to have to hold out from once I track the TV into the shot but that actually doesn't look too bad and let's start tracking this forward because this is a fairly long dolly shot you're going to see my side uppy here on the right side and the shape is going to go out of bounds a little bit on the left but personally I always prefer to let this track all the way through and then start rotoscoping and keyframing the shape unless the shape goes totally out of whack so this has tracked through now and it's hanging on well but obviously we're not covering this side of my body so what I'm going to do come in where it's the most off which again is at the very end let's zoom in a little bit and adjust the shape and on the left side as well let's just bring that in a little bit we don't have to be too perfect on the left-hand side because we're no longer overlapping this screen or Selina let's scrub through this and again I'm mainly looking for the times when it's really off and it's actually quite good to look between keyframes so this one here and one there so I'm going to kind of go in the middle and let's adjust this again and now I'm really just scrubbing through and trying to find the places where the shape is the most off from my butt from the element I'm trying to row toe and I'm taking care to not place keyframes right next to each other because you do want to have as few keyframes as possible so that this movement of the rotor shape is as smooth as possible cool and I would say that's actually not too bad for our first shape let's zoom out disable the COG wheel on the butt layer so we're no longer tracking it and let's find the next shape we want to roto I think the next logical part for me to track would be my thighs because their next closest to the camera so let's find the point where we can see the most detail in my thighs which I would say is probably around here let's zoom in a little bit and let's just create two shapes for my upper thighs one on the left and one on the right and we can track both of them simultaneously so let's grab the pen tool and let's start drawing in our two shapes let me just tweak them a little bit and let's name them accordingly and let's make sure we drag these below the butt layer so the butt layer is actually going to be held out from the shape of the thighs so the thigh shapes can overlap it a little bit but wherever we have the shape of the butt this area is going to be ignored for the thighs let's zoom out a little bit let's also make sure we have perspective enabled for the left and the right thigh and let's start tracking this backwards again we can see quite a bit of drift in the shapes but we'll fix it up in a second and with tracking down we're going to do exactly the same thing we did for the butt player we're just going to come in and manually adjust our shapes that's the right thigh and let's do the same for the left if you ever find that you have too few points to probably track the outline of the object you're trying to roto you can always come up into the point insertion tool and just add a few points they'll automatically be added and propagated through the entire shape let's come back to the pick tool and let's keep rotoscoping this let's check this out right here I can see a bit of drifting off so maybe I'll fix that up right here of course this is sped up for your sanity but I do get the odd question around how did you do that so fast or why is your computer so quick it's called the magic of editing let's check this out yep I'd say that's not too bad and let's zoom out just a little bit more so we can see the entire shot and let's start tracking this forward and as you can see Moka did a pretty good job of holding on to the back of my thighs obviously because mocha is a planar tracker it treated my thighs like slap pieces of cardboard which isn't quite correct so let's go in and fix this app now I don't have to be too details here anymore because we're no longer over lapping the screen so it doesn't really matter whether these ones are too terribly precise I just want to get them somewhat on target so they're not totally out of whack and also note that the layer for my right thigh is actually below the left thigh which given that it is closer to the camera is actually incorrect and actually the right thigh layer should be on top but we've already done our tracking and it wasn't a big deal so let's just come in and fix up the left thigh as well and again we don't need to be too precise here because we're no longer over lapping the screen let's just check this out it does drift off a fair bit right about here so let's go in and fix that up and this is obviously where we'll have to be a little bit more precise because we're starting to overlay celina and the TV screen for example right here this shape really needs to be spot-on because we can actually see the TV screen through my hand and again I'm just picking out the times when these shapes are most misaligned with my thighs and I'll just go in and fix that up and I'd say that actually looks pretty good let's again disable the cogs for the left and the right thigh so we don't accidentally track them again and let's start looking at my arm which is probably going to be fairly complicated just because of the shape of the hand and it's overlapping the TV screen there so that's kind of the last thing we need to rotor on me before we get onto salina the way I'm going to approach this is I'm actually going to break my hand down into three different shapes I'm going to have one shape for the outline the side of my hand I'm going to have one for my thumb which is a bit further away from the camera so I'm going to track that later and then I'm going to have a shape just for my forearm so let's find the time when the side of my hand is most visible which is probably about here let's zoom in and let's draw a shape just around the surface of the side of my hand and I think I'm actually going to go the cheap route and include the inside of my fingers and there as well just kind of animate the shape to follow along so let's grab the expert tool and draw a fairly detailed shape around the side of my hand let's rename this layer to hand outside and let's drag it to the bottom of the layer pile because the outside of my hand is actually going to be behind my butt and my thighs so I do want those shapes to obscure my new hand layer let's make sure we have perspective enabled and let's start tracking this backwards I'm expecting a fair amount of drift on the fingers which we can see right here but that's not too big a deal we'll be fixing that up later and righty here we can see the shape starts going behind my thigh and that actually tracked fairly well now obviously we're going to have to animate this mask to include these fingers so I'm actually going to do that again manually so I'm just going to come in here obviously because we didn't include the inside of my fingers I'm going to have to reshape my mask quite considerably and let's fix up the outside of the hand as well let's check this out hmm about here I can still see drifting off the fingers a little bit and again there's absolutely nothing new about this all I'm doing is I'm going through trying to find the places where the just misaligned the most and then just adjusting it as required and again always try to avoid creating keyframes right next to each other always try to space them out as much as you can just so that the blending between the keyframes will be nice and smooth and is not such an obvious jerky movement of the shape itself and as I am adjusting the shape at the top end of the hand I make sure to stay on the keyframes that I have already created to avoid creating a whole lot more and I'd say that's actually not too bad so let's go to the last keyframe and continue tracking this forward and again we are going to have to adjust this a little bit do note that at this point in time my hand is actually no longer overlapping celina or the screen so technically we don't really need to spend too much time on this but I'm just a little bit of a picky person so I am going to go through the motions and fix this up as well personally I would always recommend doing this anyways in case someone changes their minds and then suddenly want to check something else into the background of the shot that you didn't yet include in your rotor and then you have to redo it anyways and I think we've actually got the outside of the hand tracked really nicely as always let's disable the on the outside of the hand and let's track the thumb because we have all of the holdout masks because the thumb obviously vanishes behind the side of the hand and my butt and the sign we have masks for all of those things so let's go to where the thumb is most visible which is probably here let's zoom in and let's create a nice shape let's rename this layer to thumb and drag it to the bottom of the layer pile because in comparison to all the other layers it's the furthest away from the camera so we want all of the layers above it to be held out from it make sure perspective is enabled let's start tracking this backwards okay checking about it a little bit early because the layers technically no longer visible so mocha just has nothing left to track and obviously it goes a little bit wonky here but I don't really care too much because the thumb is hidden behind my thigh anyways and when it is visible though it looks alright we're going to have to do a little bit of tweaking there so I'm going to do is let's come in and fix this up this shape definitely seems more freely than the other ones I think I'm twitching my thumb a little bit so I really didn't make it easy for myself here cool that seems alright let's come to the last keyframe zoom out a little bit and let's track this forwards until the end again let's come back in and do all of our fixing up I think that's good enough for me let's zoom back out disable the clock on the thump layer and let's check the last part which is going to be my forearm let's find a place where my forearm is most visible probably towards the end it gets a little bit cut off at the beginning so maybe we'll track from the very end let's zoom in and let's draw a shape around my right forearm I am overlapping a little bit with the hand layers but they're going to be held out from the shape anyways let's rename this layer to right forearm and again let's drag it to the bottom of the layer pile come into the motion tab and enable perspective and let's start tracking these backwards cool at that held on really well or we see the shape gets a little bit out of whack because it's just a flat plane that is tracking so again let's adjust the shape and done let's zoom out and we've now rotoscoped all of the parts of me that are in front of Selena or the screen let's scrub through this and check this out and I think that actually looks pretty good let's not forget to disable the cog on the right forearm layer so we don't accidentally track it again I'm also going to select all of my layers and click onto the group selected icon to create a new folder and was going to rename that to Tobias and now it's time to rotoscope out selena because she's also standing in front of the TV where we want to insert a screen for this I am going to start out with rotoscoping the mop of hair that is falling over Selena's face so maybe from about here let's zoom in and let's use the x-plane tool to draw a shape around Selena's hair let's rename this layer to selena hair and let's drag it below the Tobias layer because we want all of the shapes we've rotoscoped out for me to be held out from the hair then let's disable the COG wheel on the Tobias layer because we just want to be tracking the hair and I'm actually going to leave the perspective flag disabled for the tracking because this is going to distort a little bit and there's very little perspective per se in it because we really just want mocha to help us rotoscoping this a little bit more easily let's zoom back out a little bit and let's track this forwards and that didn't actually turn out too bad now I mainly want to fix up the shape on the outline on the top of Selena's head I don't really care too much about the body because we're going to add a few more shapes to rotoscope this out anyways so let's just go through and fix up the top end of this shape we don't have to be too precise because we're going to add quite a bit of feathering to this mask so let's zoom back out and let's check this backward to where selena comes up from the floor and we're going to lose the track once this shape goes behind my leg and that's when we're going to stop tracking anyways and this is really as fast we can track it I'm actually going to come over into my layer controls and set the in point for this layer because there's really much more to track on the left side here technically there's still a little bit of silly hair but she isn't actually overlapping the screen that we want to insert so that's not actually a big deal so let's go through this and again just fix up the mask to follow Selena's head as accurately as we can I'm making sure to not include Selena's arms because we are going to track them separately in a little bit so I don't want the shape for the hair to overlap the arms especially here we're seeing this head is directly overlapping the screen that we want to insert I want to be quite precise to really capture Selena's outline end I would say that is actually pretty good and the next thing I want to track is actually Selena's shoulders and this one it's a little bit awkward just because Selena's coming up off the floor so there aren't really any surfaces per se to track but again we're just using mocha to help us rotoscope this out a little bit easier by trying to follow the shape as best as we can so let's again disable the COG wheel on the Selena hair layer and let's find let's go to the towards the end probably about here I think Selena's shoulders are proteus visible as they're gonna get let's zoom back in and add another shape around Selena's shoulders and upper body let's rename this layer to Selina shoulders drag it to the bottom of our layer pile and again I'm not going to track perspective because Selena's dress deforms a little bit too much when she gets up so let's zoom back out and maybe we'll track this forward first that's actually hanging on pretty well nice and easy let's come back and let's start tracking this backwards now here the shape starts drifting off pretty badly and while I generally prefer to track through and then adjust if I can sometimes I will go in and kind of adjust the shape while I'm still in the middle of tracking just so it can hang on just that little bit better so let's keep tracking and again I'm just going to adjust this a little bit I will fix all of that up properly once I'm done tracking let's continue and again this is probably as far as I need to track let's again set the in point for the Selena shoulder layer because there's nothing to track on the left side of this and let's start adjusting the shape and I am going to push the shape up to kind of include her lower back when suddenly are still crouched on the floor just I don't have to create yet another shape for that I think we kind of just cover it with the shape we already have I makes you going to drag this down to include Salinas leaves as well and again especially while Selena is overlapping the screen that we want to insert I do want to be very precise with my rotoscoping shape and I know I'm creating quite a few keyframes here which isn't ideal but there's just a lot of movement happening in Selena's dress and I do want to make sure that I capture that accurately so let's zoom back out and check this out and I think I'm okay with this and again let's disable the COG wheel on this leaner shoulder layer the last thing I want to do is I want to create one large shape for the body of Selena's dress and I'm going to create two smaller shapes for her arms and hands let's start with Selena's arms so let's find a point where her arms are as well clearly visible as possible probably about here and let's zoom in now I can already tell that this is going to be a challenging track because Selena's arms are out of focus there's motion blur and they are pretty small to begin with so this is going to be a bit difficult to track but let's come back to our starting frame and let's draw a shape around Selena's right arm and hand let's call this layer Celina right arm and drag it to the bottom of our layer pile and let's draw another shape around Selena's left arm at hand rename this layer to Selena left arm and again let's drag it to the bottom of the pile for the time being for both of these layers I'm going to track translations scale rotation and shear and I'm going to go frame by frame just because this is going to be a bit tricky so let's start moving forward while her left arm is getting really out of whack so I am going to come back a couple of frames and let's disable shear and rotation on Selena's left arm so we are only going to track translation and scale and let's again track this forward and yep that's holding on a little bit better now the shape still kind of drifts off so I'm going to be a bit sneaky and position it here while I'm tracking and maybe I'll adjust the right arm a little bit as well and let's continue tracking forward and again let's keep fixing up the shape around Selena's arm this is going to be a fairly manual track which is likely not going to be the most of fun but right here in this frame you can hardly see her arm and it's all blurred into the background so this is really really difficult to track to begin with so let's just see how this goes and again I'm now kind of just tweaking the shapes as I go I don't think there's much better we can do at this point or maybe my skill in mocha isn't good enough if I'm doing something really wrong please point it out I'm always happy to learn new things so let's just adjust the shape for the arms again and keep tracking this forward and the right arm is holding on a little bit better than the left but I'm still going to adjust the shape and just kind of create more keyframes as I need to keep the arm a little bit better on track and here these last few frames are actually working a whole lot better let's just track this forward all the way and see what happens and yeah mocha is doing an okay job of holding on now before we get to the fun part of cleaning all of this up let's come back to our initial frame and let's just track backwards just a few frames technically I don't really need to track this anymore because Selena's arms are no longer overlapping the screen that we want to track into the background but personally I just like to have a few extra frames at the beginning at the end of my rotoscoping just in case I need them but I think that's far enough let's set the in point for Selena's right arm and for Selena's left arm and let's once again just go through the exercise of fixing up the shape manually and adding all of the keyframes that we need because Selena's arm and head are so blurry I don't have to be too terribly precise we are going to blur this mask out later anyways so our bad rotoscoping job won't be quite as obvious and while that may not be perfect I think it'll be good enough for now so now let's repeat the fun with Selena's right arm cool and I think that's probably good enough for Selena's arms so let's come into all our controls and disable processing for Selena's right and left arm and now hang on we're almost there the final thing we need to rotoscope is the main part of Selena's dress so let's find the frame where this is nice and visible probably right at the very end and again let's draw a shape around Selena's dress and again I'm mainly interested in rotoscoping the part of Cena's dress that is overlapping the screen that we want to insert so in our layer controls let's rename this layer to selena dress and let's drag it to the bottom of the layer pile for this layer i am going to track translation scale rotation and shear and the minimum percentage of pixels used is a bit low it's just at 30 at the moment so i'm going to jack this app to probably almost around 90 processing will get slower the higher this value is but the accuracy will also be improved and I do like accuracy so let's start tracking this backwards cool we can see Selena's dress is being crunched up there but that's all good and probably about here's where we can stop tracking so let's escape out of that and let's set the in point for the Selena dress layer and we can also disable processing because we no longer need to track it we just need to add the keyframes now so as we've already done countless times in this tutorial let's start key framing and fixing up this shape a small but important detail is this small gap that piers temporarily between Selena's arm and her dress and I do want to make sure that I retain that the screen in the background is going to show through this gap and it's a school to add a little bit more realism a little bit more detail into our final visual effect and I think I'm actually pretty happy with this so let's zoom all the way back out and scrap through our project and I think that actually looks pretty good now all of this work took me well over an hour so thank you very much for sticking with me through this but I just want to show you how much effort and time really goes into making good visual effects and keep in mind that I'm actually doing a fairly sloppy job here you could spend a hell of a lot of time more on making all of these shapes much more accurate and improving the rotoscoping and I hope it gives you some appreciation for all of the effort that really goes into making good visual effects I believe I have bought you all long enough so let's finally get all of this data back into After Effects and composite it together with our tracked screen for that in the track panel you will find the export shape data button so let's go export shape data I want to select Moka shape data for AE and I want to make sure that I pick all visible layers which are all of the shapes that I have tracked to rotoscope the visual elements out of my shot let's hit copy to clipboard and let's return to After Effects back in Adobe After Effects let's first insert the screen into the TV let's come into the project panel and import a new file and the file I do want to import is called tracked screen let's bring this in and drag it into our composition at the very top and if we scrub through the composition now we have a tracked screen over the TV obviously the screen still sits on top of all of the other visual elements and especially here in the beginning when the TV is fully hidden behind me the screen kind of wobbles a little bit I'm not a mocha with just yet so I did struggle a little bit to get this tracked solidly however once the TV is fully in shot you can see that the screen is solidly tracked on top of it so that should be good enough now let's do the magic go back to the very of your composition select the ring dolly shot layer and duplicate it drag this copy above the tracked screen layer and the TV screen will vanish again make sure you at the very beginning of the composition and to remember that we've copied all of the shapes from mocha to the clipboard and now we're going to paste them onto this top layer so make sure the top layer is selected come up into edit and select paste mocha mask if I reveal all of the masks and scrub through this you can see that all of the shapes that we've created tracked and key framed in mocha have been applied to this layer so the only elements visible in this layer are the elements that we've rotoscoped out and they're now sitting on top of the TV screen and obscuring it correctly so if we show all of the layers and hide the mask and scrub through this you can see that the TV screen is now properly placed and tracked into the shot behind me and Selena now I know this tutorial has been going on for quite a while already but I figured what's a couple womanís to show you a few tricks to just make this look a whole lot better so let's scrub back a little bit to where my hand is in front of the TV screen and let's zoom in and you can see that the edges of the masks are kind of harsh and it doesn't really look very natural let me reveal all of the masks again and with the top layer selected press mm to reveal all of the masks and their properties and here are all of the masks which got generated from the shapes in mocha and you can also see why it's very important to name the shapes in mocha correctly because all of the names did get transferred across into After Effects now I want to select all of the masks that are applied to me so let's select right forearm scroll down all the way to the bottom so this is hand outside left thigh right thigh and yet my behind hold down shift and click so we're going to select all of the masks that are applied to me and with all of the masks selected let's increase the mask feather to 2 and let's bring in the mask expansion by maybe just one pixel so now if we scrub through this you can see that the edges of the mask are nice and soft and it just looks a whole lot more natural let's zoom out again and scrap forward until Selina is in front of the screen and you can see that especially Selina because she's so out of focus has a really harsh edge due to the rotoscoping masks we apply right so let's come into the layer and let's select all of the masks that apply to Salinas Oh Salinas dress left arm right arm Salinas shoulders and the hair hold down shift and click on the last mask for Selena so we've got them all selected and let's bring up the mask feather and this one I probably want to push to maybe about eight or so let's hide the masks again so it's a bit easier to see what we're doing so maybe eight and maybe I'll bring in the mask expansion just a little bit maybe I'll bring this in by two pixels and now if we scrub through this that actually looks pretty good let's zoom out rewind all the way and play this back and this is actually starting to look pretty cool the last thing I want to do is I want to obviously blur out the screen but I also want to apply a little bit of a glow and I want that glow to kind of spill over Salina and over me just like it's a really bright TV screen in the background of the shot let's collapse all of the layers and right now if I disable the base layer you can see that I have the TV screen and on top of that I've got the elements that I've rotoscoped out to obscure the screen in the background but I actually want to create a layer that only contains the cutout of the TV so I can apply effects only to that piece for that let's come into our layer windows select the tracked screen layer and change the track mat over to alpha inverted and so now all we have left is this little section of the TV screen let's select the track screen and the track mat for it and pre-compose it let's call this composition TV comp move all attributes into the new composition and hit OK if I rename the base layer and scrub through you can see this looks exactly the way it did before the only difference is that the TV comm player is free just that little slice of the TV that we can see this now allows me to apply effects only to this little section of the TV so let's come into the effects and presets panel and let's first apply a curves effect let's just bumped up the brightness by quite a bit because I do want there to be a fairly bright TV screen in the background cool that's not too bad next let's apply a blur and I'm going to go with a Gaussian blur so let's apply that to the TV layer and bring up the blurriness a little bit maybe to roundabout 9 or ehn I want to overdo it I kind of want to match the blurriness with the blurriness off the background so it looks like it really fits into the shot and lastly let's search for the glow effect and apply it to the TV comm player and what I'm going to do is I'm going to bring down the glow threshold to zero so the entire screen glows pump up the glow radius by a fair bit so I can see the edges bleeding over Selina and I want to bring down the intensity because I just want the glow to be just a little bit maybe I'll bring up the radius just a little bit more you can see how this is adding just a little bit of a glow that is bleeding over the edges of the element in front of the TV screen and I think it just adds a whole lot of realism it just looks really nice so now finally the very last thing to do let's make this a little bit bigger so we can enjoy it and let's play back our final rotoscope TV insert effect and that's all this to it I really hope you enjoyed this tutorial and as always if you do have any comments questions or suggestions just leave them down in the section below if you did enjoy this video I would greatly appreciate it if you could give it a thumbs up favorite and share it with the world and don't forget to subscribe if you do want to see more cool filmmaking and visual effects tutorials thank you very much for watching and for your patience until next time I will see you later you

Channel: Surfaced Studio

Views: 183,718

Keywords: After Effects, Rotoscoping, Tutorial, Mocha AE, Advanced, Rotobrush, Keyframes, The Ring, Screen Insert, Roto, Visual Effects, VFX, Special Effects, Planar Tracker, How To, Instructions, Surfaced Studio, Extract, Track Matte, Pre Composing

Id: FyXiximLMDs

Length: 35min 51sec (2151 seconds)

Published: Sun Oct 23 2016