Mocha AE CC vs Adobe Mask Tracker

Imagineer Systems, makers of popular planar tracking software mocha, have released a new training video with product specialist Mary mocha developed by imagineer systems

Poplin, comparing mocha with the new Adobe Mask Tracker. The Mask Tracker works by drawing a mask and then telling After Effects to track the area within the mask. Mary discusses many of the pitfalls and limitations in the new Mask Tracker; however, it is also pointed out that the tool works adequately for tracking some objects, mainly rigid surfaces.

My personal conclusion is that the Mask Tracker is a quick-and-dirty, yet inflexible, tool for simple planar tracking tasks with limited movement. Despite its limitations, however, this may be a tool with yet unrealized potential and one that Adobe may develop further.

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AtomKraft for After Effects

AtomKraft is a fantastic plugin for After Effects. It provides an alternative to the native Classic 3D and Ray-traced 3D renderers, using a 3D unbiased renderer based on the Renderman-compliant 3Delight application. As such, it is really excellent at previz, making composites, and 3D motion graphics. It supports OBJ, Alembic, and RIB file formats. You can find out more at Jupiter Jazz, the makers of AtomKraft.

I have a set of tutorials about AtomKraft, although I apologize in advance for the poor quality. I will hopefully have a better series on AtomKraft 1.0 shortly.








Live Photoshop 3D in After Effects

Live Photoshop 3D is a feature that allows loading 3D layers in Photoshop into Adobe After Effects. It’s costly in terms of performance and now outdated by plug-ins such as Element 3D and AtomKraft and the new 3D tools in CS6, but it can be an option if these tools are unavailable. Note however, that this feature has been removed in CS6.

These are some tutorials that briefly explain how to bring in 3D Photoshop documents and work with them.

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New After Effects Tutorials

I put together some new tutorials for After Effects. They were made in CS6, but aren’t particular to that version. I made the first one because the idea has been with me for a fairly long time. I see other people color correcting using other methods, but not with the way that I’ve found. I’ve shared this with a few other people already because I believe that people don’t realize the good that Color Finesse can do in their lives.

The second tutorial is less of a tutorial and more of a walkthrough in “how I did this” about a movie poster that I made for “Strongman vs. The Metal Menace.” Goes over really basic compositing of 3D layers and some masking and color correcting tricks. Continue reading