Shape layer coordinates start at the cenbter whereas all other coordinates start in the top left. that aside, you are simply going about this the wrong way. Simply pre-compose the cross-hair and create matching matte in a pre-comp, then use both in the main comp with simplke parenting. You realyl are overcomplicating matters here.
Thanks for the heads up on the alternate way to get it done. I am seeking clarity on the "create matching comp in in a pre-comp"
1. Make gradient and cross hair in pre-comp
2. matching matte comp---?
3. parent the both of them in a final comp
So that is a no I cannot have a mask follow a shape layers exact coordinates via Expression?
Again, you are overthinking and overcomplicating matters. Just use those pre-comps. you are too bound to do everything in your working comp. Pre-comps are power, not something to shy away from.
I'm going to redo my previous post and give you a clearer step by step.
I'm assuming that your subject is moving. The first step is to create a new comp and stabilize the footage. You can use the AE point tracker or Mocha. After stabilizing your subject should be locked in the frame. Now you simply create your Crosshairs graphic and set up a track matte or mask for the source footage.
Now select your source footage layer and copy it.
Next, Create a new composition. Paste your source footage in the new comp. It will still be stabilized.
Go back to the pre-comp and scale up all layers the same amount to give you your magnified view.
Go back to your main composition and drop the stabilized pre-comp with crosshairs above the original footage. The crosshairs and the original footage should line up and the crosshairs should not move.
Now it's time to remove the stabilization with a null and an easy expression. Add a null and name it destabilize. Make both the stabilized original footage and the pre-comp children of the destabilize null. Select the null and press P to reveal the position property. Select the stabilized original footage and press A to reveal the anchor point property. Alt/Option click on the destabilize null's position property and pickwhip the position to the anchor point of the stabilized footage.
All done. The stabilization is removed and the crosshairs track perfectly.
Poor little duck. He was just looking for a handout....
Thanks for your pic and detailed steps Rick. You truly are a great mentor/ teacher. I will try this after I get back from going to see Alyssium. I read about the FX guys who worked on it via creative cow's newsletter and want to go see the work in action
I am having a little challenge following you. "Now you simply create your Crosshairs graphic and set up a track matte or mask for the source footage."
can you twirl open your shape layer?
I am creating a NEW>shape layer, then drawing out an elipse, then using the >ADD in the TL to add my cross hairs. I am getting the scope. I am however not getting the track matte to co operate, or to make everything that is not encompassed into the scope dissapear? So when I drop in the Stabelized (pre-comp) into the Main Comp above the copied source footage in that main comp as instructed. I get an enlarged source footage as created in the PreComp but not just in my Scope area or Shape Layer. "The whole comp is incresed 20% of a total of 120% following your increase.
Am i missing a step to make the surrounding footage of the layer invisible to only show a 20% enlargement of the source footage from the Pre comp? I did not get to destableizing with a null yet. As I stopped at the result of a 120% footage ontop of my 100% footage in my main comp. I only want the 120% footage in the masked out area of the shape layer. (As you are aware via your demo) However I am not getting that result? I thought maybe it was the way I am creating the shape layer? OR using >ADD in the twirl dn of the Time line to add the (stroke) cross hairs to the Shape Layer's elipse?
Another thing is the footage I am using is small to start with 720X486 and after stabelizing it moves a 3rd off the screen one way then the other. SO re positioning it only gets me so far and, shrinking the Comp size, and increasing my scale is like a postage stamp; Is stabelization nessary for this process? I would think not, could'nt I just track the subjects head with tracker and past the info to a null and parent the scope to the null to then follow the subjects head. No? thanks for elaborating for me on this. I worked with it for a few hours before asking again.
Ok I played with it some more. My first problem was my Track Matte. I did not mask matte my crosshair asset to each other then track matte it, to void out the area NOT in the masked area.. After stabelizing and following your step by step, I (for one) am dealing with shrinking my comp due to heavy movement. Inspite of the mention of DE stabelizing footage via a null. I added a NULL to the main and Parented and expressed it. I NEVER removed the tracking data that stabelized (Anchor Point) Was I supposed too?
There are some good spots and bad spots. See Pics please. I even tried to adjust the Positon of the Pre comp via KF to TRY and keep the Crosshairs on subject.
The same offset was occuring without KFing the the Pre Comp. As the Pics above I KF in the PreComp on track of targets head.
Again, must I have to stabelize my footage to do this, as my footage I am using is 720 and the movement of my A.P is about 300. To overcome that (out of framing) I can only scale up, frame it on a solid, or shrink the comp to 300X300. This is why ask about stabelize.
Secondly I am out of frame in my main Comp. Looks like due to my scale up causing an offset. How do I overcome that please?
Thanks for any detailed input on this one
Ultimatley I am going to want to take that crosshair from a resting position with the source footage being scaled up inside the scope. Then I will, as the scope crosses the frame scene scale up the crosshairs in frame, as though you are seeing it through the shooter's eye. The way you have shared with me to do this, I am not sure If I will be able to move my Position around of the crosshairs footage on the Maincomp and keeping uniform as it would appear if both angles were present until of course the crosshair footage eclipse the frame. Then reverse it as the shooter would lower the scope ~makes sense in my head as I wrote it. IF not just ask. Thanks
I think you are stabilizing the camera movement and not locking to the actor. Check out this quick tutorial on the process and download the project file here. It took me about 10 minutes.
Something's fishy with the embedded video. If the video appears to be unavailable try clicking on the you-tube link and watch it there.
Thanks for the video Rick..I really need your address so I can send you a 3.5mm mic for X mas.
Ok for one I was using stabelizing my video and applying the stabelize to my source footage. Not Motion Tracking as you show in the movie. You had first responded with "The first step is to create a new comp and stabilize the footage." Hence me using stabelize and asking about it. I should have been motion tracking my point of interest.
I will give it another go....doing it with Motion Track P.O.I. and see how it goes. That makes more sense. Thank you.
I also as stated, want to go from a resting position to full screen postion. (Think shooter's POV)
SHOOTER: See's subject target, raises scope and tracks target.
This way you have shared with me will def track target. However I am having a dificult time envisioning how to go from as mentioned above, Shooter's POV from resting to full screen scoped view and showing the motion of it? Hence me starting with a mask that started small and animated to full screen. Although using a mask is not the way to go, as you and Millenium have pointed out.
You can add scale and position keyframes to target and the track matte in the pre-comp to get your shooters POV there then lock in the track for the subject from that point forward. It's prety simple really. Then the same techniques apply to keep the scope lined up with the shot.
Disregard that last question of my post. How to make a scope go from rest position to full screen. I figured it out. I just did a manual KF via "P" & "S" with some hold KF's.
Here is the result of your help. If there are some tweeks or suggestions, I am all eyes and ears. I think by adding some effects to the scope IE Bevel,magnify, exposure as you did or some sharpness would be an improvement. Other then that?
The only thing I would do is then track the actors scope to place that footage on the end as the shooter raises his scope. I think I could manage that via motion track the glass of the shooters scope until the scale emcompasses the frame. No? Any thoughts?
Pics and vid results-
If you'd like to drop you footage in dropbox I'd be happy to show you how I would do it. I think your scope gets way too big. Try to think how this would look for real then stylize that.
I would animate the position of the scope in the pre-comp so that it moves around and finds it's mark. From that keyframe forward track the movement of your subject. Then apply your track matte. You'll get the scope scanning the frame looking for the target and then locking on the target. The scope would stay locked on until the end of the shot.
Then I'd use the same techniques for the main comp and just scale up the pre-comp a bit. I'd probably apply a color correction effect to the background footage to darken it up or drop in a dark gray solid set to overlay and adjust the opacity to darken the footage outside the scope.
I may scale up the pre-comp a bit.
As far as styling the scope that's an artistic decision that's up to you. Real scopes have very fine lines. You can find illustrations of the reticle inside a high quality modern scope on Google Images. I'd make it look more like that. You might want to add in some color correction to lighten magnified footage.
Thanks for your help and offer for the Drop box Amigo appreciated for sure. This was an excercise for me only. I am not using it anywhere. I will however play with your suggestions as I've kept all your input and d.loaded your youtube vid for future references. The crosshairs were simply thrown together as is the size of the scope along with the the amount of enlarging of it too. Far from real Reel material. Thanks again I of course would love to see your rendition and get ideas off of it. I am not sure if you have the incentive, or some footage like that in your storage? IF you do love to see your work. I subb'd to your rgeffects channel BTW. So if you load it there? The footage I a using is from my ClassOnDemand footage courtesy of ArtBEats not sure if I am allowed to forward even though it is simply tutorial stuff? Damn Lars Ulrich! LOL