With the reflection on its own layer, I now have complete control. Now, I’ll simply set the Reflection layer’s blend mode to Lighten, Add, or Screen. This will isolate just the screen of my original clip. Now, I’ll simply place the Reflection Matte layer at the top, and set the track matte column of the Reflection layer to Alpha. I’ll rename the original duplicate Reflection and the screen insert duplicate Reflection Matte. But, as I said before, I want to isolate the reflection, which takes a few additional steps.įor this, I’ll duplicate both the original clip and the Screen Insert and bring both layers to the top. If I’m in a hurry, I can introduce the reflection quickly just by changing the blend mode of the Screen Insert. Since the reflection of my original clip is on top of a blank black screen, I can separate it using basic blend modes, such as Lighten, Add, or Screen. Last, but not least, I’ll isolate the reflection. Once the reflection is on its own layer, you can change the parameters in the way that suits you. If I want to do any animations, this is the pre-comp where it’ll happen. Now, I’ll resize and position my clip within the Screen Insert Clips comp accordingly. To keep things organized, I’ll rename my pre-comps to Screen Insert and Screen Insert Clips. With the pre-comp open, I’ll go to Composition > Composition Settings, then manually type in the vertical resolution of my phone, which is 1080×2340. This final pre-comp needs to match the resolution of my phone. For this, I’ll dive down into my pre-comp and pre-compose my nested clip again. When applying the tracking data, the inserted item (this new pre-comp) needs to match the resolution of the tracked clip (which happens to be UltraHD), which it does.Īgain, since the phone is a vertical video, I need to resize my image to make sure that it’ll fit the screen. First, I’ll bring my clip that I want to insert into my comp and select Layer > Pre-Compose, moving all of the attributes into the new composition. Since this is a vertical video, I need to prep it correctly. With vertical video, you’ll need to resize the image to make it fit the screen. Once I’m happy with my results, I’ll save and close Mocha. Now, you can see why it’s called a planar tracker. The grid works as a reference, allowing me to check the quality of my track and the surface of the plane. The planar surface translates to corner points, so I’ll use this tool to fine-tune the boundaries of the screen insert. With my track complete, I’ll select Show Planar Surface, as well as Show Planar Grid. Once tracked, the timeline will turn blue. The track forward/backward buttons are just below. I’ll also activate Perspective in the Track Motion Options area. For this reason, I’ll make a selection around the edges of the phone. I want to avoid any unnecessary movements, such as my reflection in the middle of the phone’s screen. I’ll select an area to track via the x-spline tool. The Essentials workspace makes it really easy to work with. Don’t get scared if you’re not familiar with the program. Now, I can click on the Mocha button in the Effect Controls panel, which will launch the app. And don’t worry, Mocha AE is bundled with After Effects, so you already have it installed.įor the first step, I’ll grab the Mocha AE effect from Window > Effects & Presets > Boris FX Mocha and drag it onto my clip. It’s just more versatile when it comes to tracking for screen replacements. But first, let’s track the clip.Īfter Effects has a great point tracking system, but I prefer the planar tracker of the Mocha effect. I purposely shot this on a blank screen so I’ll be able to use the black color to help easily isolate the reflection later. I’ve shot a sample clip of me looking at my phone, with my reflection clearly visible in the phone’s screen. The Mocha AE is more versatile and is already bundled in After Effects.
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