Purpose of track and zoom green screen?

I have two shots, I'm trying to merge. One is a handheld zoom and travelling of a person wearing a mask, and I'm putting an ORB that I green projected onto the front of the mask. I had tried to animate the sequence manually, but decided to try after effects CC because it seemed that it would be a simple solution (as an anchor to a 3D point). I was not able to find a solution that works well, but the closest I came is to create a tracker of the camera but do not compensate for the zoom when I move the layer of the orb to the solid that I create. I hope it's just something simple I am missing! Thanks for your help - Andrew

The simplest solution is that if you see the shots. Here are some things to consider. Point of view is controlled by the position of the camera, focal control framing. You try to mix a mobile camera with an evolution of the focal length. This means that there is a problem immediately top with perspective. Maybe it's not important because I'm not sure of what look like your shots. So it is this hand held shot of a person wearing a mask and that they walk so the camera and the person are moving. Then there's this orb that was shot on a green screen that you want to attach to the mask. You are zoomed out of the person while the perspective shifts across shot because the camera is moving and the perspective of the person moving in the changes of shooting because they move around the scene and the scale or the framing of the picture changes because you are zooming. Then you have an ORB (something spherical) you shot with a camera locked for perspective and framing does not change. When you say you want to put the ORB on the forehead of the mask I'm picturing the composite final as a shot of an actor wearing a mask that has some sort of jewelry that looks like an ORB and the actor is walking toward the camera while the camera zooms in. If it is we break down what is happening in the shot and the challenges that await you.

Let's take the ORB first. It is a locked low blow so there is no problem to change perspective or the change of scale (zoom with camera) deals. The only thing you can do is hope that the prospect of the ORB is close enough to the prospect of the actors face which does not matter.

Now let's talk about the outstretched hand of shooting of the actor. When the camera moves there is a shift in perspective in the whole scene. Because the actor also moves, there is a change in the perspective of the actor. Since the ORB will be attached to the mask's actor it is really unnecessary to worry about the perspective change in the background, you only need to worry with the change of point of view of the actor. If the distance between the camera and the actor remains fairly constant, then the change of perspective probably won't be much of a factor. If the actor begins 10 feet from the camera and ends with 2 feet of it camera then you have to deal with the change of point of view as well. Now consider the zoom.

Zoom does not change the point of view, it changes only the framing or the extent of the shooting. You have to find a way to measure this change globally and apply the change to the scale of the layer of the orb. Fortunately, this part is not too hard.

Now we are going to attach the ORB to the mask. If the distance between the camera and the actor is relatively constant so you don't have to worry much about a change of perspective. This means that the best thing to do would be to stabilize the mask so that it is not moving. If the player does not turn their head a lot so it's pretty easy. If the actor turns his head then it becomes much more difficult. Suppose that the actor don't move their head. You'll need to follow the position of the mask and the face of the actors and scale and rotation. Then, you need to apply this position, scale, and rotation to the layer of the orb. You could do that little monitoring by tracking the eye holes in the mask or by the monitoring of the upper part of the head and the Chin or the other two parts of the mask with a geometry set. Once the head and, therefore, the mask is followed for the position, scale and rotation, you can apply these data to the orb. There are basically two ways to do it. You can either stabilize shooting so that the mask does not move in the image, then place the ORB on the stabilized mask and then put the movement in shooting and apply tracking to the layer with the orb data so that it moves with the head of the actors. The other option is simply to apply directly tracking data to the layer of the orb in position on the mask and match the scale and rotation of the changes at the head of the actors. You can use AE tracker or tracker in Mocha for either. It is easier and more efficient method depends entirely on shooting.

If the actor turns his head during the shooting, then everything in the previous paragraph applies more you need follow the change of perspective in the minds of the players. Maybe it's where you use the tracking camera AE and Mocha AE not having any real 3D tracking tools that track different elements 3D as the face of actors in a scene. According to the shooting, there may be a way to use tracker AE camera to simply follow the movement of the face and then add a sphere 3D layer so that it will follow with the movement of the actor. You can even use a 3D object. You would do that by stabilizing the first actors to head in the shot so that the position, scale and head actors has been locked. You would then duplicate this layer and mask the layer so that only the head of the actors was visible in the shot. You would then dial before shooting hidden just head of actors and run the tracker of the camera on the demo. By doing this, you may be able to fool the camera into thinking that the actors head does not move, but the camera moves around the head of the actors. If you can get a good track then you can add a null value and a camera to the scene and then the 3D layer orb and i match position ' t to null. If the ORB remains attached to the mask actors as it should then you could turn off the layer of film, leaving only the orb and the camera in the demo.

Now, all you have to do is to put the rear movement essentially shot by reversing the stabilization and applied these data to follow-up to the pre comped ORB.

Here is a tutorial of Mikey who is good enough and gives you an idea of how do track camera mobile head.

I don't know if that helps at all, but it should point you in the right direction. The explanation also stresses that the planning of the production before when you do something like this. Just Runnin ' and gunnine you can get in a lot of trouble.

Tags: After Effects

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The info... copied on the net... may be useful:

=====

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=====

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