Tracking and Keying in After Effects | Part 1

After Effects is not just for Motion Graphics, it's also a compositing tool. If you want to become a MoGraph Ninja you're going to need to know some basic compositing, and that's what this two part tutorial series is all about. There's a ton of info packed into just this first part where you'll learn how to remove an object from a hand held shot, do planar tracking with Mocha in After Effects, keying, and color correcting our composited shot.

Make sure you check out the resources tab for info on where you can get some greenscreen footage to practice you keying skills with. And for a background plate, whip out your smart phone… it will be plenty good enough to play around with this technique. So much to learn, so little time. Let’s get cracking!

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP. 

Download Project File

 Get some greenscreen footage from Hollywood Camera Work 

    00:00:06,971(bird chirping)
    00:00:12,609(upbeat music)
    00:00:20,352- Well hello there, Joey here at School of Motion.
    00:00:23,232And welcome to Day 20 of 30 days of After Effects.
    00:00:26,031Today's video is Part One of a two-part series
    00:00:28,239where we're actually gonna do something
    00:00:29,950that's not very motion-graphicsy, it's more compositing.
    00:00:33,505Now when I say compositing, what I'm really talking about
    00:00:36,120is visual effects which is something
    00:00:38,224After Effects is used for all the time.
    00:00:41,367Now the next two videos are gonna cover
    00:00:43,094a lot of important techniques
    00:00:44,313that every MoGraph artist should know
    00:00:46,292because you never really know
    00:00:47,751when you're gonna need to
    00:00:48,584pull them out of your bag of tricks.
    00:00:50,243We're gonna cover tracking,
    00:00:51,652removing things from the background,
    00:00:53,684keying, color correction, a whole bunch of stuff.
    00:00:56,772I wanna give a quick thank you to the Baltimore Orioles,
    00:00:59,676who do Spring Training right here in Sarasota,
    00:01:02,709for letting me use the clip of their mascot
    00:01:04,481in this tutorial.
    00:01:05,788And this was actually shot in the green screen studio
    00:01:08,451at the Ringling College of Art and Design
    00:01:10,485which happens to be an awesome college
    00:01:12,217that I used to teach at.
    00:01:14,148Don't forget to sign up for a free student account
    00:01:16,345so you can grab the project files from this lesson
    00:01:18,559as well as assets from any other lesson on the site.
    00:01:21,258All right, let's hop into After Effects and get started.
    00:01:24,465So here's the final clip that we'll be producing
    00:01:27,115and like I said before,
    00:01:28,896it's gonna take two videos to do this.
    00:01:30,695And I'm gonna show you guys a lot of tricks,
    00:01:33,846a lot of hopefully, pretty cool techniques
    00:01:36,246to do compositing with.
    00:01:39,407Let me start by showing you the two raw clips
    00:01:41,844that we're gonna be working with.
    00:01:43,028So here's the first clip.
    00:01:44,928Now this clip was shot in the green screen studio
    00:01:47,603at Ringling's, this is actually for a class project
    00:01:50,681that happened during the 2013-2014 school year.
    00:01:55,577And the Baltimore Orioles have their Spring Training
    00:01:58,099in Sarasota so a lot of times,
    00:02:00,982what'll happen is Ringling will bring in companies
    00:02:04,078and organizations that have roots here
    00:02:07,158and create class projects out of that,
    00:02:09,351so this is one of those.
    00:02:10,829And it was pretty cool, some players came down,
    00:02:12,790the mascot came down.
    00:02:14,119This was shot on Ringling's Red camera,
    00:02:17,559one of the Red cameras and shot in the green screen studio.
    00:02:21,021So one thing I made sure to note
    00:02:23,263before I went and shot the background,
    00:02:25,709was I made sure to figure out where the main light
    00:02:28,335was coming from, the key light, that's the term.
    00:02:31,219So I could match that when I shot a background,
    00:02:33,798so if you've noticed, here's the key light.
    00:02:36,239I made sure that when I shot this footage,
    00:02:39,424I made sure that the sun was over here,
    00:02:42,137at least on this side of the screen
    00:02:43,967so that shadows would fall on that side
    00:02:46,384and the brightest part of the bird would make sense.
    00:02:49,724So that's really important.
    00:02:51,242Now this is the raw shot.
    00:02:53,404All right, it's actually much longer
    00:02:56,231than the clip I showed you guys.
    00:02:57,739I used, to just sort of, this last little piece right here.
    00:03:01,242Looking at the grass, looking up
    00:03:03,853and there's the bird, there he is.
    00:03:05,987Now you'll notice my four-year old's
    00:03:09,986little Adirondack chair is there,
    00:03:12,252this bright pink chair.
    00:03:14,055Now why did I do that?
    00:03:15,359Well, I knew I wanted to track the bird to the ground.
    00:03:19,861And it would be pretty tricky to do that
    00:03:22,488if I didn't have some reference,
    00:03:24,389something that I could track on the ground.
    00:03:26,509Now, I'm gonna show you some different
    00:03:28,395sort of tracking techniques with these videos.
    00:03:30,513The grass is actually trackable
    00:03:33,975but really it's gonna be mainly
    00:03:36,542trackable as like a large area.
    00:03:40,516And we are gonna do that, but if I wanna actually
    00:03:42,446position something right on the ground,
    00:03:45,558I knew I wanted a reference object.
    00:03:47,338So I thought that this would be a good reference object
    00:03:49,324because you cannot have any more contrast
    00:03:52,941than between green grass and a pink Adirondack chair.
    00:03:57,143All right, so this is what we started with
    00:04:00,254in beautiful, sunny Florida, just sort of outside my house.
    00:04:03,889So here we go.
    00:04:05,311Let's start by taking this clip
    00:04:08,221and making a new Comp.
    00:04:09,687I'm just gonna drag it down here,
    00:04:10,778make new Comp with it.
    00:04:12,721The first thing I wanna do is just trim this
    00:04:15,523so I only have the piece of the shot that we're gonna use
    00:04:18,052because I shot for like a minute
    00:04:20,027and I wasn't sure what piece of that I wanted to use.
    00:04:23,027So I ended up starting about here.
    00:04:27,925So I'm gonna hit b, set my endpoint there.
    00:04:30,747And I'm gonna forward and we'll just go maybe,
    00:04:34,584somewhere in there.
    00:04:36,794I mean, I guess we can just use the rest of this shot.
    00:04:38,689So now let me trim this Comp.
    00:04:40,157Control+click or right-click up here.
    00:04:42,932Say Trim Comp to Work Area.
    00:04:46,059So now that's the only little piece of the shot
    00:04:47,866that we're gonna use, okay.
    00:04:49,360And what I need to do first, I need to get rid of the chair.
    00:04:54,489And there's a bunch of different ways to do this
    00:04:59,845but I'm gonna show you the easiest way I can think of.
    00:05:02,848We're actually gonna do the whole thing
    00:05:05,390just using tools that come with After Effects.
    00:05:08,312I don't want to use any third-party stuff for this tutorial,
    00:05:11,516you can, but why?
    00:05:13,461This is 30 days of After Effects.
    00:05:16,061So what we need to do to remove this chair
    00:05:17,946is first, get a good track for the scene.
    00:05:21,522There's a lot of new tools now for After Effects,
    00:05:25,391they'll let you do a fancy trick called Camera Projection.
    00:05:30,110Camera Projection is extremely useful for removing objects
    00:05:33,825from scenes.
    00:05:35,820The problem is it requires a very good camera track
    00:05:39,603and to be honest, After Effects' Camera Tracker
    00:05:43,023is just not that great.
    00:05:45,083I mean, it works in some cases
    00:05:46,727and it might even work in this case,
    00:05:48,938but I don't like to use it.
    00:05:50,111I like to use a different camera tracker
    00:05:51,875that doesn't come with After Effects
    00:05:53,440so I don't wanna do that,
    00:05:54,860so what we're gonna use is a program called mocha.
    00:05:57,378And mocha comes with kind of a light version
    00:06:01,279and it ships with After Effects.
    00:06:03,021So here's how it works.
    00:06:04,442Select your clip.
    00:06:06,178Go up to Animation.
    00:06:07,606Say Track in mocha AE.
    00:06:11,495What's gonna happen is it's gonna open up mocha.
    00:06:15,153And it's gonna start a new project.
    00:06:17,944So let's just name this project, I don't know,
    00:06:21,294like Backyard or something.
    00:06:23,565What it does by default is it saves a mocha project file
    00:06:28,509in whatever location you have here.
    00:06:32,187And by default it's gonna save it
    00:06:34,179in the same location as your After Effects project.
    00:06:36,879One thing I always like to make sure I have checked
    00:06:39,390is in this Advanced tab.
    00:06:41,498Make sure Cache clip is enabled.
    00:06:44,015And when you do that, when you hit OK
    00:06:45,678the first thing that happens is mocha loads the clip
    00:06:49,068into memory, you can see that's what it's doing.
    00:06:51,656And this makes the whole process go so much faster.
    00:06:54,583It takes, you know, a minute on the front end
    00:06:57,037but now, I can play this clip with the space bar.
    00:06:59,892I can play it in real time
    00:07:01,127and it will track much, much faster too.
    00:07:03,270So we're actually gonna do two tracks for this, okay?
    00:07:06,083The first track we're gonna do
    00:07:08,525is we're gonna track the grass and I'll explain why.
    00:07:12,287Mocha is a planar tracker and what that means
    00:07:16,105is that it tracks instead of individual points,
    00:07:18,845it tracks planes.
    00:07:21,022If you think of a plane as sort of an area,
    00:07:23,965a flat area that is kind of all on the same 3D plane,
    00:07:28,644that's what mocha can track.
    00:07:30,637So what I wanna do is try and track a big patch of grass
    00:07:35,174and I wanna try and pick an area of grass
    00:07:37,207that is relatively flat,
    00:07:39,391specifically that's on the same plane
    00:07:41,907as the area this chair is in.
    00:07:43,895So I don't know if you guys can tell from the footage
    00:07:46,551but this part of the lawn right here,
    00:07:49,881it goes up a little bit.
    00:07:51,046there's a little bit of a hill there
    00:07:52,261so I don't wanna track that part.
    00:07:53,773But for the most part, the rest of this is pretty flat.
    00:07:57,297So here's what I'm gonna do, you can see that mocha actually
    00:08:00,425sees the entire clip, but there's an in and an out point
    00:08:03,779that match up perfectly to my in and an out
    00:08:06,470in After Effects.
    00:08:07,844I'm gonna go to the last frame here.
    00:08:09,366If you've never used mocha,
    00:08:11,104I'll talk you through some of hotkeys
    00:08:13,194and I'll show you where the buttons are.
    00:08:14,473It looks really complicated,
    00:08:16,337there's actually not that many things
    00:08:17,750you have to deal with those, it's pretty nice.
    00:08:19,967So I'm gonna click this button here, right in the middle.
    00:08:22,519These are your main play controls and if you click this guy
    00:08:24,805with the little line on the right side,
    00:08:26,383takes you to the last frame.
    00:08:28,164So now on that last frame, I'm gonna go up here to my Tools.
    00:08:31,702And I'm looking at these Pen Tools, the X and the B,
    00:08:34,384they both pretty much do the same thing,
    00:08:36,284they let you draw a shape.
    00:08:37,906The X draws sort of a normal spline that you're used to.
    00:08:42,280You click and then you can sort of,
    00:08:46,608actually sorry, I'm saying it wrong.
    00:08:49,199X draws an X spline
    00:08:51,226which is kind of a neat spline which mocha lets you do
    00:08:53,909where you draw a spline and then you use these handles
    00:08:56,626to dictate how curvy that part of the spline is
    00:09:00,136or how not curvy.
    00:09:02,000So that's kind of neat.
    00:09:02,880And then you can also hit this B and draw a Bezier curve,
    00:09:06,767and this is probably more like what you're used to, right?
    00:09:10,106So I'm gonna delete this.
    00:09:12,059And every time you make a shape, it adds a layer over here
    00:09:14,454and then you can select that layer,
    00:09:15,877hit the trashcan to delete it.
    00:09:18,250So let's just use this little X spline
    00:09:20,488'cause it's a little faster to draw.
    00:09:22,157And what I wanna do is draw a shape
    00:09:24,405and I don't want to include the chair and the reason is
    00:09:27,451the chair is sticking straight up and down,
    00:09:29,663it's perpendicular to the grass.
    00:09:31,847And I don't wanna track that plane,
    00:09:34,195I wanna track the grasses plane, the ground plane.
    00:09:36,745So I'm just gonna sort of draw a rough shape,
    00:09:41,169something like this.
    00:09:43,136And it may seem weird but mocha is smart enough
    00:09:47,194to figure out, by drawing this shape,
    00:09:51,296I'm telling it that everything inside this shape,
    00:09:53,665is on the same plane.
    00:09:55,302And now I want you to track that plane.
    00:09:57,606So now I'm gonna hit the track the button
    00:09:59,053and I'm gonna track backwards 'cause I'm on the last frame.
    00:10:01,104So here's your tracking buttons.
    00:10:02,973The left-most one will start tracking backwards.
    00:10:05,635This one tracks one frame backwards,
    00:10:08,128so I'm gonna click this one and let it start going, okay.
    00:10:10,922You can see that it's absolutely amazing
    00:10:14,907how well mocha can track stuff, all right.
    00:10:17,896Let me pause it for a minute.
    00:10:19,103I mean just look at this image here.
    00:10:22,473There's like, your human eye is gonna have trouble
    00:10:26,089picking out one spot on this grass,
    00:10:29,646but mocha is able to track pretty seamlessly.
    00:10:33,765Another cool thing you can do with mocha is,
    00:10:35,839in the middle of a track,
    00:10:36,774you can expand out this mask a little bit
    00:10:40,744and just give it now more information to track
    00:10:43,613and it will keep tracking and it doesn't mess up
    00:10:45,712what's already been tracked,
    00:10:47,372it's just now giving it more information to look for.
    00:10:51,028In general, the more information it's tracking,
    00:10:54,020the more accurate the track is gonna be.
    00:10:57,320Now as we get to the beginning of this shot,
    00:11:00,067the camera's gonna start to tilt down.
    00:11:03,757And so as it tilts down, I wanna make sure I expand this
    00:11:08,238so now it can track all this new ground
    00:11:10,859that's being revealed.
    00:11:12,484And so I'll keep tracking backwards
    00:11:14,069and you can see it slows down.
    00:11:15,640And I'm gonna hit space bar to pause it,
    00:11:17,591and I'm just gonna adjust this shape.
    00:11:20,745Now, you can see this transform box around here.
    00:11:24,363I can't see the top of it so I wanna move
    00:11:26,592this whole thing down and in After Effects,
    00:11:28,988you hold space bar and that let's you sort of
    00:11:31,569move your entire workspace.
    00:11:34,428In mocha, it's X, you hold the X key
    00:11:36,901and now you can move it.
    00:11:38,114And the Z key lets you zoom in and out.
    00:11:40,707So I'll hold X and now I can shrink this shape down.
    00:11:43,580Now keep in mind, I'm not screwing anything up,
    00:11:45,945I'm just telling mocha now track this part
    00:11:48,917but it's still all on the same plane.
    00:11:51,759So I'll keep tracking.
    00:11:54,454And mocha's so good, it can even track
    00:11:56,089when stuff goes offscreen,
    00:11:57,384it can figure out where stuff should be.
    00:11:59,996And let me just adjust this now.
    00:12:04,296And then we'll keep tracking.
    00:12:08,199All right, and we get to that endpoint
    00:12:10,161and now it will stop.
    00:12:11,847And if I scrub through, you can see that,
    00:12:14,313right now it's kind of hard to tell what's mocha's done
    00:12:16,241because the shape is, it's been key framed.
    00:12:19,208It's automatically, set key frames when I change the shape
    00:12:22,644but it's tracked it very well.
    00:12:23,959Now here's what you actually do with that track.
    00:12:27,504You need to set up a surface in mocha.
    00:12:30,919So the surface is actually the plane
    00:12:34,112that it's going to apply this motion to.
    00:12:36,330There's a button up here, it has an S in the middle
    00:12:39,433of this little square, and if I click that,
    00:12:41,605make sure this layer's selected, by the way.
    00:12:44,522And you can actually double click this and rename it.
    00:12:46,341Let's rename this Grass.
    00:12:48,748Now you see how this blue kind of rectangle appears
    00:12:52,835and you can drag the corner of those,
    00:12:57,014and in this case, there's nothing,
    00:13:00,272there's no real feature to track, right?
    00:13:03,371I mean like if I had placed a big poster on the ground
    00:13:07,933or something, I could line the corners of this up
    00:13:10,051to the poster to check and see how well my track is working.
    00:13:15,185I didn't do that so I'm just gonna kind of eyeball this.
    00:13:17,881It's not too important, I just want to show you guys
    00:13:19,755how well this worked.
    00:13:21,022So that is now the surface.
    00:13:25,506If I scrub through, you can see that
    00:13:28,445that surface tracks pretty well to that grass.
    00:13:32,473The perspective shifts.
    00:13:34,502And if you really wanna track it, what you can do
    00:13:37,190is make sure you have your layer selected,
    00:13:38,992come down here to Insert Clip and set this to Logo
    00:13:43,033and it'll insert the mocha logo.
    00:13:44,986And now, I can even hit space bar
    00:13:47,990and it will show me, it's playing almost in real time.
    00:13:53,325And it looks like that logo is just perfectly stuck
    00:13:56,012to the ground.
    00:13:57,803Cool, so that's fantastic.
    00:13:59,504So now, let me show you generally how you use this feature.
    00:14:02,632But it's not actually how we're gonna use it in this case,
    00:14:06,530but I just want you to understand mocha a little bit more
    00:14:08,318if you've never used it.
    00:14:09,807Now that I've got a good track, I can go down here.
    00:14:14,870Down here, you've got these three tabs:
    00:14:17,106Clip, Track and AdjustTrack.
    00:14:18,898In either Track or AdjustTrack, you've got a button
    00:14:21,499that says Export Tracking Data.
    00:14:23,794So whatever layer you've got selected here,
    00:14:25,837and right now we only have one layer,
    00:14:27,489select that, hit Export Tracking Data.
    00:14:29,537And what you can do is you can tell it
    00:14:31,585what kind of tracking data you want.
    00:14:34,954And what I want is the After Effect's Corner Pin data
    00:14:39,690and you want this first one up here.
    00:14:43,046Now you just hit Copy to Clipboard.
    00:14:45,538Now go back to After Effects.
    00:14:48,434Go to the beginning here.
    00:14:50,174And I'm just gonna make a new solid.
    00:14:53,044I'm just gonna hit Paste,
    00:14:54,520and make sure you're on the first frame
    00:14:55,606when you do this, but hit Paste.
    00:14:57,353Now hit space bar.
    00:14:59,816And it perfectly corner pins that solid down to the ground.
    00:15:04,929And you can see that that covers up my chair.
    00:15:07,342So what I need to do now is create a patch
    00:15:11,456that I can patch the grass up
    00:15:13,821and basically just patch up this area.
    00:15:19,014Basically, use a Clone Stamp Tool to clone over the chair
    00:15:21,884and just recreate the grass.
    00:15:23,227Now here's where your problem comes in.
    00:15:27,487When you corner pin something, it distorts the image
    00:15:31,600and so if I turn the corner pin off,
    00:15:33,696this is actually my "image", right?
    00:15:36,548And when you corner pin it,
    00:15:38,233it then sticks to your background plate.
    00:15:40,536But if I was gonna create a patch of grass
    00:15:44,476that would then get corner-pinned and would look correct,
    00:15:48,681that would be kind of tricky
    00:15:51,025because if I clone stamp something from this frame,
    00:15:55,250and then it gets corner-pinned, it's gonna be distorted,
    00:15:59,100it's gonna be really hard.
    00:16:00,230So this is why the technique of camera tracking
    00:16:04,151has kind of become popular in After Effects.
    00:16:05,497If you Google After Effects Camera Projections,
    00:16:09,419I should say, Camera Projections,
    00:16:10,986there's a bunch of tutorials coming out now
    00:16:13,037that show you how to do it.
    00:16:14,161And it's a lot more complicated
    00:16:15,619than what I'm gonna show you.
    00:16:16,751This is actually a really neat trick with mocha.
    00:16:19,485So we can't just corner pin something
    00:16:22,867and just have it sit over that area, that won't work.
    00:16:27,270Here's what we're gonna do.
    00:16:28,294Let me delete this for a minute.
    00:16:30,007Let's go back to mocha.
    00:16:32,503And I have it open twice for some reason.
    00:16:33,882So let's go back to this mocha, here we go.
    00:16:36,759Let me turn off my Insert Clip for a minute
    00:16:40,173and just set that to None.
    00:16:42,513And I'm gonna go to the last frame.
    00:16:44,619This is a very important step.
    00:16:46,491What I want to do is I wanna pick a frame,
    00:16:49,647and in this case it's not really important,
    00:16:51,751'cause the camera doesn't move too much
    00:16:52,904but you wanna pick a frame
    00:16:54,930that gives you enough visual information
    00:16:58,183that you could clone stamp pieces of it
    00:17:00,248and cover up whatever object you're trying to get rid of.
    00:17:04,453The last frame is gonna work very well for this.
    00:17:07,411And it's also important that you remember
    00:17:09,541what frame you do this next step on.
    00:17:12,028So by choosing the last frame, it makes it easier.
    00:17:14,840On the last frame, I'm going to go to
    00:17:20,850this button here.
    00:17:22,206So with this layer selected, this little guy here,
    00:17:25,868and if I hold my mouse over it,
    00:17:27,031it says, "Push the surface to the corners of the image".
    00:17:30,746Keep in mind this blue kind of trapezoid shape,
    00:17:34,189that's the surface, so if I click this, look what it does.
    00:17:38,076It moves the corners of that to the corners of my image.
    00:17:42,124Now if I scrub backwards, you can see it's doing this
    00:17:45,061bizarre-looking distortion
    00:17:48,521which lines up only on the last frame.
    00:17:51,012Now what use is that?
    00:17:53,639Well this is a very cool trick,
    00:17:55,595you guys are gonna like this.
    00:17:56,562So now, with that step done,
    00:17:58,163I'm gonna say Export Tracking Data.
    00:17:59,610And I want the Corner Pin.
    00:18:01,308I'm gonna Copy to Clipboard.
    00:18:02,585Go back to After Effects.
    00:18:04,105Here's what I'm gonna do.
    00:18:06,102I'm gonna duplicate my footage layer.
    00:18:08,593And on the duplicate copy, I want to precomp this.
    00:18:12,263Make sure I move all the attributes into a new composition
    00:18:14,869and I'm gonna call this Patch.
    00:18:18,440Then I'm gonna go to the first frame
    00:18:20,047and I'm going to hit Paste.
    00:18:23,413Let me turn the sound off, okay.
    00:18:24,660If I go to the last frame,
    00:18:27,542let me turn off this bottom layer for a minute.
    00:18:29,527If I go to the last frame,
    00:18:31,544my Patch layer is lined up perfectly.
    00:18:34,118And then as I scrub backwards,
    00:18:35,284you can see it being corner-pinned in this weird, weird way.
    00:18:40,232What's interesting is what it's doing,
    00:18:42,366and this will make a lot of sense in like five minutes,
    00:18:44,995but what it's doing is if you just stare at the grass,
    00:18:48,941this grass has perspective on it already
    00:18:52,194because we shot with a camera
    00:18:55,475and cameras introduce perspective into an image.
    00:18:58,462And so what it's doing is it's maintaining that perspective
    00:19:03,105throughout my shot by warping the image
    00:19:07,524so that on this frame, the corners line up.
    00:19:10,662And so you look at the grass and just focus on the grass,
    00:19:14,597you can see that it actually
    00:19:16,662is sort of maintaining the correct perspective.
    00:19:21,765So here's now, now what we're gonna do is patch this.
    00:19:24,242So let's go into our Patch precomp.
    00:19:26,908I want to make it so that this footage doesn't play,
    00:19:31,331I just want this frame, so I'm gonna make sure
    00:19:34,337I'm on that frame, select my layer
    00:19:35,969and go up to Layer, Time, Freeze Frame.
    00:19:39,946And that's just a little shortcut,
    00:19:41,193it turns Time Remap on, puts a Hold key frame on that frame.
    00:19:44,197So now, this whole layer is just that one frame.
    00:19:48,094And I'm gonna go the first frame
    00:19:50,087and I want to use the Clone Stamp to paint out this chair.
    00:19:54,188So you can't use the Clone Stamp in your composition viewer,
    00:19:59,929you have to use it in a layer viewer.
    00:20:02,454So you need to actually double click your layer here
    00:20:05,939and it will bring up this viewer.
    00:20:07,624And this is what a layer viewer looks like.
    00:20:09,556So now, I can use my Clone Stamp Tool.
    00:20:12,554Make sure that in your Paint settings,
    00:20:16,034the Duration is set to Constant so that whatever you draw,
    00:20:18,995it's gonna maintain that Clone Stamp
    00:20:24,292for the entire length of this layer
    00:20:26,700because there's different settings,
    00:20:27,919there's Write On, Single frame, you don't want any of those,
    00:20:30,162you just want Constant.
    00:20:31,871And then, with your Clone Stamp Tool,
    00:20:33,465it works the same way it does in Photoshop,
    00:20:35,463you hold Option, and you select your source point.
    00:20:38,402And let me zoom in here
    00:20:39,985so we can get a really good look at this.
    00:20:43,045Make sure we're at full res.
    00:20:45,965The hotkey to go to full res, by the way, is Command+J,
    00:20:48,949if you didn't know that.
    00:20:50,811And then I'm using the period and the comma
    00:20:53,061to just zoom in and out.
    00:20:54,189So I'm gonna hold Option.
    00:20:55,975And I'm gonna click somewhere over here.
    00:20:58,553And the Clone Stamp right now, it's really, really big,
    00:21:00,990I don't want it to be that big.
    00:21:01,885If you hold Command and click and drag,
    00:21:03,327you can interactively scale your brush size.
    00:21:06,586So let's just pick a little spot
    00:21:08,265and the way I like to clone stamp,
    00:21:10,054is to kind of pick different areas of the grass,
    00:21:16,521and clone stamp different parts of that chair away.
    00:21:19,227The reason I'm doing that is because
    00:21:20,725if I just picked like this area here and did this,
    00:21:25,536it works okay but your eye might notice patterns
    00:21:29,802if you're not careful.
    00:21:31,234So it's always a good idea to kind of
    00:21:32,135mix it up a little bit, all right.
    00:21:34,734And just kind of make sure there's nothing that's obvious,
    00:21:38,825that gives away that you clone stamped it.
    00:21:40,644So I did a few clone stamps and the chair's gone.
    00:21:43,377This is pretty easy example, but this works for anything.
    00:21:47,354So now, you can see that because I had this on Constant,
    00:21:51,636that maintains all the way through.
    00:21:53,837Now I can close this layer viewer.
    00:21:56,262And if we jump back into
    00:21:59,553this now, right, you can see that
    00:22:02,020now on the last frame we've got our scene
    00:22:04,490and it's sort of warps it in perspective.
    00:22:08,541It still looks really weird so the next step,
    00:22:10,914this is the key.
    00:22:12,160Come in here and we want to mask out
    00:22:14,913just the part of the image that we wanna fix.
    00:22:17,602We don't want this whole thing,
    00:22:19,503we only want the little patch of grass
    00:22:21,223where there was a chair.
    00:22:22,549So let me turn off the Paint Effect for a minute now.
    00:22:24,695Here's something that's weird
    00:22:25,746and I don't know why this happens
    00:22:27,087but first I try just putting a mask around this part
    00:22:31,582and then turning the Paint Effect back on.
    00:22:33,212For some reason, that screws up your paint effect.
    00:22:37,325Having a mask on there screws it up.
    00:22:39,033So we're gonna delete the mask.
    00:22:40,743We're not gonna do it that way.
    00:22:42,317What we're gonna do is make a new layer.
    00:22:44,970We're gonna call it MATTE.
    00:22:46,523I'm gonna make it an adjustment layer
    00:22:47,715just so I can see through it.
    00:22:49,226And then I'm gonna put the mask on that layer.
    00:22:54,989Okay, and I'm gonna feather that a little bit.
    00:22:57,596And then I'm gonna tell this layer to use this
    00:23:00,368as its Alpha Matte.
    00:23:01,476And now we can turn the Paint Effect back on.
    00:23:03,996Now we've got this little patch.
    00:23:06,734And if we jump back here and you look at the little patch,
    00:23:10,812you can see that it moves around
    00:23:12,445and it's getting this perspective on it.
    00:23:14,096Here's the magic, you turn the Clean Plate back on.
    00:23:17,704Oh my gosh, it sticks right to it.
    00:23:20,875Okay, and let's just let that RAM preview.
    00:23:26,295It's pretty, it's I don't know, the first time I did this,
    00:23:28,760it blew my mind.
    00:23:29,593I think it's pretty amazing.
    00:23:32,019You saw how easy that was, I mean,
    00:23:33,736this works for any surface
    00:23:37,739that is flat,
    00:23:38,662that you can get a good track on in mocha.
    00:23:40,536Now what we wanna do is just focus on the last 10%
    00:23:45,352to really help sell this composite, right?
    00:23:47,275Let's zoom in.
    00:23:49,116When you're compositing and when I say compositing,
    00:23:51,244I mean, I generally use that term
    00:23:53,820to mean visual effectsy type of stuff like this where we're,
    00:23:57,704this is not designing and animating,
    00:24:00,287this is using After Effects
    00:24:01,744to do a visual effect, basically.
    00:24:04,981It's way more important in those cases
    00:24:06,743that every once in awhile, you hop into 100% zoom
    00:24:10,744and you got to full res,
    00:24:12,118you can really see what it's gonna look like.
    00:24:14,809And here's one of the,
    00:24:16,655here's one of the pitfalls of using this, right.
    00:24:18,583This grass, even though it's,
    00:24:21,000I just cut it the other day, it's pretty short,
    00:24:24,337but there is some perspective to it.
    00:24:26,693So when we're over here,
    00:24:28,574you get a little bit of a smearing effect
    00:24:31,175and it just looks a little bit less sharp
    00:24:32,806than the rest of the grass that's around it.
    00:24:35,742So what can actually help sometimes
    00:24:38,377is to sharpen the grass.
    00:24:40,841So I sometimes just grab a,
    00:24:45,465a normal Sharpen Effect
    00:24:47,621and just knock it up a little bit, right.
    00:24:52,040Knock it up to five and now at least,
    00:24:55,515as a still, it seems to blend in better
    00:24:58,528if I turn it off and on.
    00:25:00,417Man, I mean it just a subtle, subtle little difference.
    00:25:03,899Let me see if I zoom in, if you guys can see it better.
    00:25:06,996It just sort of helps right in here,
    00:25:09,366it helps the darks get a little darker
    00:25:11,873and it just sort of helps it
    00:25:13,685sit in there a little bit better.
    00:25:16,016Another thing that it's hard to notice,
    00:25:21,451let me maximize my frame here with my tilde key for a minute
    00:25:24,983and try to show you guys.
    00:25:28,491As high quality as I can.
    00:25:31,577Now you're not really going to notice this very much
    00:25:36,102but this footage has green in it.
    00:25:40,064All footage has green in it,
    00:25:41,480doesn't matter how high-end of a camera you use,
    00:25:44,479there's gonna be some sort of noise
    00:25:46,690it's just the way camera's work.
    00:25:49,010However because I made a freeze-frame of that last frame,
    00:25:53,486here we go, so now it's playing in real time.
    00:25:55,945Because I actually froze that last frame
    00:25:58,132to make that little clean plate, that little patch,
    00:26:00,721there is no grain on that piece of footage.
    00:26:04,152The rest of this has grain, that piece doesn't
    00:26:07,002and it's so subtle.
    00:26:10,530But it's one of those things, your eye just can
    00:26:12,911kind of give it away.
    00:26:14,006Now maybe most people wouldn't catch it
    00:26:15,540but I guarantee, a visual effects supervisor
    00:26:18,210or a compositor would probably catch it
    00:26:20,443so what you wanna try and do
    00:26:22,163is match that grain to the existing grain in the footage.
    00:26:26,751So it's hard to do when you're looking at the full image.
    00:26:30,617It's a lot easier to do
    00:26:31,814when you look at each channel individually
    00:26:34,459and by channel, this is what I mean.
    00:26:35,892This button right here, I bet a lot of you
    00:26:37,472have never clicked it, this can actually show you
    00:26:40,007the individual channels that make up your image.
    00:26:42,192By default, you're seeing the RGB composite image
    00:26:45,691but each image you look at actually has a red component
    00:26:49,219and a blue component and a green component.
    00:26:52,539Okay, especially if the blue component of video
    00:26:56,938generally has the most noise
    00:26:59,348and so if you just look in here,
    00:27:01,665you can kind of see a little bit of a noise pattern.
    00:27:05,551And it's hard when the camera's moving so, so much
    00:27:08,234but you can see it.
    00:27:10,134And you can probably especially see it in very bright areas
    00:27:14,147like if you look at the water, you can see there's noise.
    00:27:17,998But in our little patch here, there is absolutely no noise.
    00:27:23,836And now you can almost see it
    00:27:26,225because we're looking at the blue channel,
    00:27:28,480so I need to add noise in there to really make it work.
    00:27:32,445So what I'm gonna do is, I'm gonna put noise on it
    00:27:36,217but I'm actually gonna put the noise on it
    00:27:38,478inside of this precomp and let me tell you why.
    00:27:43,736If I just wanna put noise on this patch,
    00:27:46,997I don't wanna put it on, over the whole thing,
    00:27:50,065I just wanna put it on this layer.
    00:27:52,090I'm gonna go to Effect, Noise & Grain, Add Grain.
    00:27:55,278Now the way the grain effect works is by default,
    00:27:58,929let me unsolo this.
    00:28:00,056It gives you this little white box that you can move around
    00:28:02,867and it's only gonna put grain inside that box.
    00:28:06,784The reason it does that is because this effect
    00:28:08,520takes forever to render, it is a render pig.
    00:28:13,196And so the idea is you're supposed to use this preview box
    00:28:16,380to get the grain set up and then when you're done,
    00:28:18,247you say Final Output and then it puts grain over everything.
    00:28:22,940Now this layer is only this big, it's very little
    00:28:26,439but you can see instantly, if I turn this off
    00:28:29,906and I hit space bar, that's how fast it previews.
    00:28:32,195If I turn it on, that's how fast it previews.
    00:28:35,624Even though there's just this little piece of image,
    00:28:37,237the effect is not smart enough to only work in that image.
    00:28:41,194And I could try, you know, there's different strategies.
    00:28:45,132The problem is that this layer's moving around on screen.
    00:28:47,517So here's what I'm gonna do,
    00:28:48,666I'm actually gonna put the Add Grain effect
    00:28:51,515inside this precomp.
    00:28:53,735And I'm just gonna put it on an adjustment layer.
    00:28:57,123All right, so make this an adjustment layer.
    00:28:59,677I'm gonna copy the Add Grain effect to that layer
    00:29:02,996and I'm gonna set it to Preview mode.
    00:29:07,014And what's great about Preview mode
    00:29:10,027is that it renders much faster
    00:29:13,128because it's only putting grain in this little box.
    00:29:15,368There's a Preview Region setting on the Add Grain Effect,
    00:29:18,347and it will actually let you
    00:29:19,704increase the size of the preview region.
    00:29:23,079So now it's rendering much, much faster
    00:29:25,310'cause it's only putting grain inside that box
    00:29:27,560which is awesome.
    00:29:28,649The problem is it's still rendering that little box.
    00:29:31,484Well you can turn that off too, there's a little check box,
    00:29:33,610Show Box, you uncheck that.
    00:29:37,094Now that box is gone and it's putting grain on that footage
    00:29:41,993in this comp.
    00:29:42,826Now technically, it's also then warping the grain
    00:29:47,565which you don't really want it to do,
    00:29:49,633but you're not gonna be able to notice
    00:29:53,271once the footage is playing and all that kind of stuff.
    00:29:55,576So this is technically, not exactly correct,
    00:29:58,345but it's probably good enough.
    00:29:59,678Now what I wanna do is I wanna check,
    00:30:02,333I wanna zoom in here.
    00:30:03,488Let me make an in and an out for my B and N keys
    00:30:06,746I wanna check looking at the blue channel.
    00:30:09,971By the way, I don't think I mentioned this,
    00:30:11,327the way I'm switching between the channels with the keyboard
    00:30:14,178is you hold Option, and Option one switches
    00:30:17,491to the red channel, two is the green channel,
    00:30:19,706three is the blue channel.
    00:30:21,014Whatever channel that you're on, if you hit Option
    00:30:23,033and that number again, it'll go back to your RGB.
    00:30:26,566So you can quickly shift through your channels.
    00:30:28,907So I'm looking at the blue channel now
    00:30:30,986and I know my patch is right there.
    00:30:35,591So I need to look right there
    00:30:37,103and I'm seeing some grain in there now.
    00:30:40,440I think I got lucky and the default settings worked okay.
    00:30:43,436Now it's also a good idea to look at your other channels,
    00:30:45,916your red and your green.
    00:30:48,981And just make sure that you're still seeing
    00:30:50,785the grain in those channels now.
    00:30:53,772The Add Grain effect in After Effects
    00:30:56,791doesn't give you a ton of options.
    00:30:59,340Really, it gives you mostly options
    00:31:02,310for just how intense the effect is gonna be,
    00:31:07,296how big the grain is gonna be.
    00:31:09,914One thing that can be helpful
    00:31:12,129is if you're trying to match film stock or something,
    00:31:14,738sometimes there's way more grain in the blue channel
    00:31:17,141than there is red and green channels.
    00:31:18,988So you can twirl down in the,
    00:31:20,997in this little Tweaking property thing here, in this group.
    00:31:25,502And then look at Channel Intensities.
    00:31:27,024So if I look at this,
    00:31:28,767I'm looking at the green channel right now.
    00:31:30,471And I'm thinking the green channel
    00:31:32,588maybe doesn't have as much noise,
    00:31:34,690er sorry, it needs more noise than the green channel.
    00:31:38,208So I'm come to here and it's a lot of times,
    00:31:42,001a pain to bounce back and forth like that.
    00:31:44,009I wanna adjust this, let's see the result here.
    00:31:47,220So what I can do is just hit this little lock up here
    00:31:49,969and so when I switch, it's gonna lock my viewer
    00:31:53,289to the comp I wanna see.
    00:31:55,239And so now I can just increase the green intensity,
    00:31:59,032maybe 1.2, let's just try that.
    00:32:01,671And then pop back in here
    00:32:03,703and do a quick RAM preview.
    00:32:06,928Then we'll see if I like that grain setting better, okay.
    00:32:11,443And overall, I think the grain matches a lot better now
    00:32:14,544so I'm gonna go back to my RGB.
    00:32:17,152Let me actually go to 100%, take a look here.
    00:32:19,287Do a quick RAM preview of just that section
    00:32:22,283and see what we got.
    00:32:25,380And I think we're gonna be in pretty good shape.
    00:32:27,818We now have grain on that little patch of grass
    00:32:31,289and it's such a subtle thing.
    00:32:32,920You guys probably can't really tell the difference
    00:32:35,296looking at this on a tutorial,
    00:32:37,397which is already heavily compressed to be on Vimeo,
    00:32:39,579but when you're looking at this on a TV screen
    00:32:43,761or if this was for a movie or something,
    00:32:46,419you can tell, your eye will just know something's off.
    00:32:49,948You may not be able to put your finger on it
    00:32:51,835but you'll sense that's something's wrong.
    00:32:54,336So here we are, now we have our clean plate.
    00:32:56,962We are all ready to insert our bird into it.
    00:33:01,644And before we do that, we actually need to get a good track
    00:33:06,330to use for the bird.
    00:33:07,977We can't use, let's go back to mocha, for a minute.
    00:33:10,261We can't use this same track to put the bird in
    00:33:13,510'cause what we tracked was the grass.
    00:33:15,973The grass is lying flat but the player's gonna be standing,
    00:33:20,261sorry, the bird is gonna be standing straight up and down.
    00:33:22,437So that's why I put the chair in there,
    00:33:24,514so I had something in the scene
    00:33:25,909that was standing up and down that I could track.
    00:33:28,645More importantly, I put it in the position
    00:33:31,139where I wanted the player to go.
    00:33:33,137So what I'm gonna do is I'm gonna turn this layer off,
    00:33:35,980I'm gonna hit this eyeball icon next to Grass.
    00:33:39,082So now, I don't see that layer.
    00:33:40,867Now I can make a new layer,
    00:33:42,017make sure you don't have this selected.
    00:33:44,626And let's grab our B tool here
    00:33:47,179and what I'm gonna do is zoom in.
    00:33:49,638Sorry, I'm gonna hold Z and zoom in.
    00:33:52,513And I'm gonna draw a shape
    00:33:57,230just where this chair is, okay.
    00:34:00,732Just like this.
    00:34:02,864And now I'm gonna come down here to my Track settings.
    00:34:07,187By default, mocha tries to track a whole bunch of things:
    00:34:13,177Translation, Scale, Rotation and Shear.
    00:34:15,723And it can also track Perspective.
    00:34:17,139If you wanna know really what all these things do,
    00:34:19,474you just check out the documentation for mocha
    00:34:21,905but I don't want shear at this point.
    00:34:25,023All I wanna do is get a position scale and rotation value
    00:34:28,908for what this chair is doing in the frame and that way
    00:34:31,599I can apply that to my mascot.
    00:34:33,810So I kind of did this wrong,
    00:34:36,661I'm kind of in the middle of my clip here.
    00:34:39,006So that's okay, I'll just track.
    00:34:41,009First I'll track forward,
    00:34:42,687so I'm gonna click the Track Forward button
    00:34:45,719and let it track that chair.
    00:34:50,065And it's gonna very easily track that chair.
    00:34:52,897And then I'll go back to where I started
    00:34:56,945and I will track backwards now.
    00:34:59,386Oops, I did that wrong, I clicked the wrong button.
    00:35:01,840Track Backwards, there we go.
    00:35:03,916All right, and because it's not tracking a very big area
    00:35:07,150and because the clip is cached,
    00:35:08,661it can track it pretty quickly.
    00:35:10,940And you could probably get an okay track on this
    00:35:15,193in After Effects but mocha is just amazing at tracking stuff
    00:35:20,071that has kind of a pattern to it.
    00:35:23,448You can see that there's these little grooves in the chair,
    00:35:26,343in the Adirondack chair, that makes it really, really easy
    00:35:29,984for mocha to track.
    00:35:31,148If you haven't used mocha before, you might also guess
    00:35:34,143that it's amazing for doing rotoscoping
    00:35:36,337if I wanted a good mask
    00:35:37,897that traced the contour of this chair.
    00:35:40,572This program can do it amazingly
    00:35:43,419and I can't believe that it just comes with After Effects,
    00:35:46,055they don't charge any extra.
    00:35:47,175Let me zoom out a little bit
    00:35:50,977because once we get back to the beginning of this shot,
    00:35:53,766the chair is gonna go out of frame.
    00:35:56,889I wanna just make sure that we can get as much of a track
    00:36:00,799on that as possible.
    00:36:03,126And I'm hitting space bar to pause the track
    00:36:04,728and I'm just gonna track one frame at a time.
    00:36:07,982And it's still tracking and it loses the track there
    00:36:10,862but that's okay, I'm not gonna worry about it.
    00:36:13,536So now we have a track for most of this shot.
    00:36:18,416All right, and I'm gonna rename this Chair.
    00:36:21,429With the Chair layer selected, I'm now gonna down
    00:36:23,699and say Export Tracking Data.
    00:36:25,619This time I don't want a Corner Pin,
    00:36:27,536I just want Transform Data, anchor point, position,
    00:36:30,274scale and rotation.
    00:36:31,284So I'm gonna copy that to my clipboard.
    00:36:34,232Hop back into After Effects.
    00:36:36,172Go to the first frame and I want to apply that information
    00:36:40,130to a null object.
    00:36:42,008I'm gonna rename this track.
    00:36:43,509Whenever I track something
    00:36:45,848and apply the tracking information,
    00:36:47,226I always do it to a null because that way
    00:36:49,774I can just parent things to the null.
    00:36:52,023So I'm gonna hit Paste and mocha does something weird,
    00:36:55,886at first, okay.
    00:36:56,969I want you to see what it's doing.
    00:36:58,788The null's way up here
    00:37:00,840but the anchor point for the null is actually in here,
    00:37:04,806and it's kind of hard to see it.
    00:37:06,837It's this little guy right in there,
    00:37:09,568and it's actually tracked pretty well to the ground.
    00:37:13,468But this is weird and it's gonna be tricky to work with.
    00:37:16,444So what you do, this is actually a really simple solve.
    00:37:20,063Go to the first frame, hit U on your TRACK
    00:37:23,442and you can see these are all the key frames
    00:37:24,827that came over from mocha.
    00:37:26,178Just delete Anchor Point and then zero out the Anchor Point.
    00:37:30,585All right.
    00:37:31,418And so now, if you look,
    00:37:33,893our null is right on the ground
    00:37:36,500right where the chair was and it sticks perfectly to it.
    00:37:41,127When we get to, if we kind of,
    00:37:43,329let me zoom out here a little bit,
    00:37:45,267we will get to the beginning of this shot
    00:37:47,541where the track failed.
    00:37:49,858Okay and you can also see that the beginning of that shot,
    00:37:52,261we're getting a little bit of that chair showing up
    00:37:54,911so what we need to do is actually change the shape
    00:37:57,023of our mask a little bit.
    00:37:59,967So what I'm gonna do
    00:38:01,983because this will be easier if I do this,
    00:38:03,908I wanna see the result of what I'm about to do
    00:38:06,797which is change the shape of this mask.
    00:38:10,351So what I'm gonna do is I have,
    00:38:12,873let me close this for a minute
    00:38:13,965and show you how to achieve this.
    00:38:16,810I'm in this comp.
    00:38:18,503While you're in this comp,
    00:38:19,609go up here and click on this arrow,
    00:38:21,481and see New Comp Viewer.
    00:38:23,264And After Effects will make a new composition viewer.
    00:38:26,833This viewer has the lock turned on,
    00:38:29,707so now I can switch to a different comp
    00:38:32,387and see that comp and this one open,
    00:38:34,484but see the result in this one.
    00:38:35,869So what I'm gonna do is I'm gonna,
    00:38:36,969I'm just gonna kind of go forward using Page Down
    00:38:39,505until I don't see that chair anymore.
    00:38:44,470Right, then in this comp, and you can switch between 'em
    00:38:48,761just by clicking in the viewer.
    00:38:50,879I'm gonna go to this comp
    00:38:51,712and I'm going to put a mask key frame here with Option M.
    00:38:56,105Then I'm gonna go backwards
    00:38:57,801until I actually see
    00:39:01,059that chair
    00:39:02,350and then I'm just gonna adjust the mask
    00:39:05,543until the chair goes away, there we go.
    00:39:09,290And then I'm just gonna Page Down, Page Down, Page Down.
    00:39:12,114Make sure that the chair doesn't pop back into existence
    00:39:15,058and it shouldn't and so now we fixed that.
    00:39:18,078So now I can close this window.
    00:39:22,252All right, I didn't even notice that when it was playing,
    00:39:24,209it was only frame-by-frame that I noticed it.
    00:39:26,443Cool, and so now we've got that null object
    00:39:29,223in the right spot, and when the track goes bad
    00:39:32,473on that frame, you have a couple options.
    00:39:35,812One is you can just make it so that
    00:39:38,025whatever object is gonna be tracked in there,
    00:39:41,262the mascot, I can just make it so he doesn't
    00:39:44,174actually appear until this frame,
    00:39:47,833so he doesn't exist on this frame.
    00:39:49,210The other thing you can do is let's zoom in here
    00:39:52,071so we can see all these key frames.
    00:39:53,251I know that these key frames
    00:39:55,791and all the ones that come before,
    00:39:58,336are useless so I'm just gonna delete those.
    00:40:00,844And then, so what I could do
    00:40:02,897is just manually set this last key frame myself.
    00:40:07,002And I can kind of see
    00:40:09,011what all the other key frames are doing
    00:40:11,082and I can just kind of mimic that motion manually.
    00:40:14,606Cool, so now I get one more frame
    00:40:16,409where I actually get a good track
    00:40:18,784just by cheating.
    00:40:20,215All right, and now let's actually test this track out.
    00:40:22,556Let's make a solid and let's pick some,
    00:40:25,136let's pick some color here that we like.
    00:40:26,893I don't know, what's hot now?
    00:40:28,414Pink, pink is hot.
    00:40:32,372Let's make a solid layer and let's just scale it down.
    00:40:34,797And maybe make it kind of tall and skinny like this.
    00:40:38,868Just temporarily, what I'm gonna do is I'm gonna,
    00:40:40,758I'm gonna turn off my Patch so I can see exactly where
    00:40:45,396that chair sits on the ground.
    00:40:47,872I'm gonna move my layer right there.
    00:40:52,040Then, I'm gonna parent it to my TRACK null
    00:40:54,473and turn my Patch back on.
    00:40:56,752If we did this right, that should look like that it is stuck
    00:41:01,074pretty darn closely to the ground.
    00:41:06,301Okay, now it doesn't work until
    00:41:09,567this frame, right there.
    00:41:12,526I don't want that solid to exist before that frame,
    00:41:15,143so I'm gonna hit Option + left bracket,
    00:41:16,509to trim it, there we go.
    00:41:22,522And let's zoom out, let's do a RAM preview here
    00:41:24,625and see what we got.
    00:41:27,985All right and that's working pretty well.
    00:41:29,811That's sticking to the ground,
    00:41:30,931it's rotating with the camera.
    00:41:32,725It looks like it's in the right spot,
    00:41:33,882let's just double check.
    00:41:35,916Turning the Patch off 'cause it looks like
    00:41:37,229it's slipping a little bit.
    00:41:40,284Just wanna make sure, yes,
    00:41:41,811see I didn't have it in the right spot.
    00:41:43,276There's the bottom of the chair right there.
    00:41:46,896Now I'll turn my Patch back on.
    00:41:49,218And now it should stick a lot better.
    00:41:50,459You gotta be very precise if you use this technique,
    00:41:53,517otherwise you'll get something
    00:41:55,586that looks like it's slipping,
    00:41:56,914it's not really sticking to the ground.
    00:42:00,272And there we go!
    00:42:02,973All right, and now we've got this object tracked in there
    00:42:05,760and it's rotating, and it looks like it's in the scene.
    00:42:09,215We've cleaned up the scene, we've got a nice clean plate
    00:42:12,038and we've got a nice track.
    00:42:12,871And we're ready to go, all we need to do now is key out
    00:42:15,546our footage, put it in there and do some other compositing
    00:42:19,189to make it sit in that scene better.
    00:42:21,385This is where we're going to stop with Part one
    00:42:22,218of this video.
    00:42:24,712In Part two we will key out the footage,
    00:42:27,631we will color correct it,
    00:42:28,713we'll do some other compositing tricks
    00:42:30,265to make it feel like it really sits in this scene.
    00:42:33,346But hopefully, you've gotten a little more comfortable
    00:42:36,510with mocha and specifically with using mocha
    00:42:39,130a couple different ways.
    00:42:40,241We used it one way to actually track this thing
    00:42:43,619into the shot, we used it a totally different way
    00:42:46,157to make a clean plate for ourselves
    00:42:47,894and get rid of that chair that was sitting there.
    00:42:49,999So thank you guys so much, I hope you learned a lot.
    00:42:53,928Now I'll see you next time.
    00:42:55,558Thank you so much for watching.
    00:42:57,454We're gonna finish this video in Part 2
    00:42:59,404and that's where we're gonna get into how to actually
    00:43:01,150key the footage, integrate it into the shot,
    00:43:04,139and how to color correct it so it looks right.
    00:43:05,963We're gonna learn a lot more, so definitely check that out.
    00:43:08,958Let me say thanks to Ringling one more time
    00:43:11,048for letting me use their studio to shoot the mascot footage.
    00:43:13,759And thanks to the Orioles for letting us use their mascot.
    00:43:16,735I tried to treat it with respect
    00:43:18,731even though I like the Red Sox.
    00:43:20,248If you have any questions or thoughts about this lesson,
    00:43:22,888let us know.
    00:43:24,163Thanks again and I'll see you next time.
    00:43:29,495(upbeat music)