It might be easier to export a still frame of the volcano, import it into Photoshop and use the clone stamp in there to get rid of the houses. Then use Mocha to track the shot and overlay the cloned imported from Photoshop.
I don't have mocha (a bit expensive for an amateur like me) and yes I did that first but had the same problem too.
You could track the motion two high contrast area, preferably a point that is furthest away from the camera and then attach the keyframes to a null object and parent the null object to the cloned layer.
It might be a bit fiddly and it may not track 100% so you may need to go through it frame by frame to check.
I'll try that although the problem is that high contrast point is quite really problem to find as the surface of the lava where is trail for instance is nearly the same color and the white of the only house of the observatory has a tendency to blend with the rest of the footage. Well I try anyway. For the moment Im experimenting another solution which is to have one of the smokes announcing the eruption bent on the cliff itsel where the problem is the most visible. i'll come back when I have a result. Thanks Geo
> I don't have mocha (a bit expensive for an amateur like me)
mocha-AE is included with After Effects.
To launch mocha AE from within After Effects, choose Animation > Track in mocha AE.
Thanks for the info I don't know why I thought it was an extra addon or something of the sort. then I'll try it.
Here is the video of my footage after my last test. I tried to cover with one of the smokes the extreme
right where the problem is very visible although on the left it's too; I can't say this really satisfies me. Any
suggestions are welcome
OK, I see a bunch of painting on the nearest slope of the volcano that does not track with the shot. Your biggest problem is workflow using the clone stamp. You are just not using it properly. If it were me, the first think I would do is to use the After Effects tracker to stabilize this part of the volcano so that it didn't move in the frame.
Now you only have perspective issues to deal with.
Next I would duplicate the stabilized layer, pre-compose the duplicate moving all attributes to the new composition, name the preComp - clone or paint pre-comp, then open the pre-comp in the layer panel and use the clone stamp to repair the parts of the image you want to repair. You can then add other trackers for the parts of the image you want to clone or use a time offset to make your painted layer match the mountain.
I probably would do something completely different. I'd export the middle frame of this move as a Photoshop file, then go in and paint the mountain the way I wanted it to look. I'd mask the background in photoshop so I only see the sides and face of the volcano. Then I'd bring my painted mountain back into AE and animate distortion, scale and rotation so the painted layer matches the original perspective on the shot as close as possible. When that is done I'd go back to my main comp, add a null, tie the null's position to the anchor point of the stabilized footage, then parent the original copy of the footage and the painted copy to the null to put the camera movement back in the scene.
Here's a tutorial on how to apply tracking data to a clone stamp in AE:
I am pretty convinced that you added the smoke... Use the same procedure to get the smoke to look right. It's also floating in an unnatural manner. You could also replace the far background with a matte painting of the city using the same mask, duplicate, paint in Photoshop, then distort and remove the stabilization.
Thanks so much Rick. I appreciate the time you took to give me those explanations. I'll try to put them into practice in fact following your second option. In fact I've been in contact with the BBC to obtain authorization to use some 2 minutes of three excellent documentaries on Pompeii and Herculaneum. Unfortunately it has been refused although my project is strictly for myself and I do not intend at my age to bother myself with ideas like selling my video to anyone.40 years in the finance sector has been enough and at 73 I just do what it pleases me and try not to stress to protect my heart!
Video editing is a hobby following a dream that could not have been pursued for lack of wish to take risks probably knowing the constraints it implied and the fact that if you're not the first in the business or near that level you vegetate and are sour and frustrated. I have my feet right on earth and don"t take my dreams for reality.
Having said that, and in view of the BBC position, I will completely reconstruct the different shots which constituted the prelude of my project. My first edited test with the excerpts I wanted to use, will be a kind of model for my own developments and this will be in fact a more positive and interesting way of doing things. It will also be a way of learning immediately what I'll need for the remaining of the project. If you're interested I can message you in private my scenario. Who knows you may have also interesting remarks to make about it.
Hi Rick, did you receive my private message?
Ok , It seems Rick is absent or not available at this time. The prblem is that using his advice, I'm now stuck in the middle of the process.
In his method he said : ' I'd export the middle frame of this move as a Photoshop file, then go in and paint the mountain the way I wanted it to look. I'd mask the background in photoshop so I only see the sides and face of the volcano. Then I'd bring my painted mountain back into AE and animate distortion, scale and rotation so the painted layer matches the original perspective on the shot as close as possible. When that is done I'd go back to my main comp, add a null, tie the null's position to the anchor point of the stabilized footage, then parent the original copy of the footage and the painted copy to the null to put the camera movement back in the scene."
I have as suggested created a png file with my volcano alone and repainted. I've transferred it into my AE composition and to insure it was perfectly scaled and position above the video. At the same time in the time line I've used Layer/Transform/FIt to comp.
What I don't understand now is the "animate distortion, scale and rotation" section. I suppose I have to use the Tracker and apply it to the video layer. But which option should I take? Track camera, Track motion, Warp stabilizer or Stabilize Motion before creating the Null object?
Can't anyone help me? I'm stuck with my problem for five days now. I need really more information to solve it.
1/ Rick wrote "Then I'd bring my painted mountain back into AE and animate distortion, scale and rotation so the painted layer matches the original perspective on the shot as close as possible. " I don't see how I can animate a still image and change its perspective. It doesn't make sense. There is something I miss here.
2/As I wrote above I have as suggested created a png file with my volcano alone and repainted it. I've transferred it into my AE composition and to insure it was perfectly scaled and positioned above the video at the same time in the time line I've used Layer/Transform/FIt to comp.
3/I've track motioned the original footage
4/I've created the Null object and here I have a doubt, should I move the Null's anchor point to the position of the beginning ot the track or leave it as it is just at at the same place as the Anchor point of my footage and picture?
Hoping to get precise explanations, thanks in advance.
Maybe this tutorial will help you. I ad-libbed this demo yesterday morning. It shows one approach to handling lens distortion and perspective changes. You could use the same technique with your volcano.
There are other approaches but the theory in all of them is the same. You need to compensate for parallax and distortion changes in the original footage if you are going to successfully create a believable composite. I'm working on a more detailed approach to solving tracking problems with moving shots that should be ready in a few days. I'll keep you posted.
Good morning Rick
Thanks, I'll check that. I've tried also to transform my image of the volcano repainted separated from the town's background and also with the Somma (the kind of mountains behind the volcano resulting from previous eruptions) as an intermediate background. The 3D impression of the Volcano is not too bad although I think there too I should separate the cliffs from the interior of the volcano.
I used Photoshop inflating the cliffs and what I think I should is deflating the interior to give it the depth impression.I used this tutorial for that.
It could be a solution; then to transfer the results into AE and use a camera layer to animate the movement before the volcano. What do you think?
Hi again; just watched your video and downloading it on my pc. You have a fantastic diction! It changes from many tutorials. I'll try to apply your technique this afternoon step by step. Thanks again and waiting for part 2
Rick could you please, type in your videos infos the expression you used especially the one tying the null to the scale of layer 3 .The characters are so small that they are unreadable . Thanks
c = [100, 100] - thisComp.layer("my footage").scale;
value + c
I hope you follow that. You are just subtracting the new scale value from the array for 100% scale, then adding the current skald value for the null. It's the most basic algebra with an array thrown in.
Thanks; you know Rick, I'm not an expert with AE; I use a French keyboard and on a PC. which doesn't simplify things, and I have not used much expressions and can make mistakes with syntax too; what seems obvious for you from the other side of the Atlantic is not so from mine....
Have a good night and thanks for your help.