That’s a bit involved, so for this demonstration I opted to stick with the built-in tools. Then you’ll get a rectangle that you can modify to place the corners in the correct location on one frame, and then it’ll follow the screen in subsequent frames.Īfter Effects: You could do a planar tracker, but it involves going to the included Mocha application.
After the tracking is done, you have to switch the Tool’s Operation Mode to Corner Pin. Just pressing the Track Forward button was enough to make this work in one go.įusion: We use the Planar Tracker which starts in Track mode and directly allows us to draw a roto shape for the area we want to track. Nuke: We use the PlanarTracker node to create a roto shape that covers as much area as possible, without using any of the surface that is later covered by the hand. See below for what works best for After Effects. It’ll use a large surface area to track, and even though the lower right corner is obscured at some point, we can get an accurate location for that corner at all times. For Nuke and Fusion, we can use a Planar Tracker. Here, the hand comes across the screen at some point and obscures part of the screen and the lower right corner, so we need to work around that. In general, for accuracy, it’s best to use as large an area as possible for tracking. The elements supplied to Eken were stock footage of a woman pinch-zooming a greenscreen and the marker-covered tablet, and a photograph of the space shuttle Endeavour taken at California Science Center, with the idea being that she would be zooming into an area of the photograph on the device. These are Foundry’s Nuke, Blackmagic Design’s Fusion (inside DaVinci Resolve) and Adobe After Effects, arguably the three most accessible compositing tools.
Here, visual effects artist Marijn Eken – who has worked as a compositor at studios including DNEG, Scanline VFX and RISE | Visual Effects Studios, and currently teaches at the Netherlands Film Academy – explains how he might tackle compositing of the same shot in three separate packages. That’s certainly the case with compositing, where several pieces of software and compositing workflows can be used. Visual effects artists already know there are often many ways you can pull off a particular shot via different filming methods and with different tools and techniques.
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