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    Thanks, Jose Panadero, but i might have not being so clear.


    I saw this Boris FX video and when she creates "Track Data", the After Effects automatically imports the keyframes from Mocha, and then you can apply it in other layer to attach into your footage. But when i try to do the same, i have no single keyframe from the tracking and, even if i try to "Apply Export", my target would hold stand still, cause there's no parameters for it to follows.


    This might be a strange error or i'm doing something wrong in the tracking process, but i've made no different thing from the older versions...  


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    don't you work for some news station in some hick town with like 150 people? or did you just used to?

    Why do you even post here?

    nothing worse than hillbilly """""tech-heads"""""

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    If it only ever works for you...


    A. haven't done very many tracks

    B. Are lying about all the headaches you've endured attempting to use AE and/or Mocha, and are minimizing how much of the tracking you had to do yourself manually.


    A or B?

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    One last question because I'm finding it difficult to find the answer and I am simply to novice to know myself.  I found a great tutorial for RotoBrush and I'm making use of it but a 53 second clip recorded at 30 FPS is quite a lot of frames to go through.  I was hoping there was a way to reduce how many frames i have to click through to get a complete an accurate rendering.  I tried time stretch and reduced it to 25 seconds.  This changes the clip length to only 12 seconds but also required me to change my composition to 100 FPS and did nothing for the amount of frames.  Google search has not been much help.  most of my inquires come back as changing the Frame rate which is not the same.  I'm am hoping there is a way to do this just not sure. 


    Thank you



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    Long after giving up, I managed to find a solution to this problem myself on Premiere Pro (I believe the same thing works for After Effects too)-

    In Premiere, go to Effects>Lumetri Presets>Technical>Legal to Full Range 10-bit (or whatever bit rate your ProRes export is). Add this effect to your ProRes clip. BOOM. Done.


    Note: When exporting non-ProRes files (H.264, etc.) out of Premiere this method will fix your export files. But when exporting ProRes remove/hide the effect and then proceed exporting.

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    dukeeastwood  wrote


    don't you work for some news station in some hick town with like 150 people? or did you just used to?

    Why do you even post here?

    nothing worse than hillbilly """""tech-heads"""""


    FYI, sparky -- I grew up in New York.  I CHOOSE to live where I live.


    Nothing worse than wisea** dumba**es.

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    It's user error, not a bug. Mocha AE caught me the first time too. You have to make sure that you select the layer you have tracked and that the layer is active (gear is showing) before any data is copied.

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    Just recording the motion of your phone does not include the position and therefore perspective changes of the planes that are in the scene. You would have to record that data also. I'm not talking theoretical stuff here. I was doing a fair amount of motion control camera work for commercials and other visual effects projects in the late '70s and early '80s. The motion control camera rigs were huge, heavy and expensive, but you could record exactly where the camera was and where it was pointed at any time in the shot. We had data that was way more accurate than you can get from the consumer grade GPS, electronic gyros and accelerometers in a smartphone.  I'm talking programmable, repeatable and recordable camera moves with an accuracy of .0001 inch.


    Focal Length gives you Angle of View, Camera Position gives you Perspective. If you want to insert something in a scene and the pane you want to stick the object to is  7'10 inches from the camera, 3'6" below the center of the sensor (frame) and the camera is pointing 22º left of perpendicular and 1.5º below the horizon all of that data has to be recorded on location or calculated with some kind of camera tracking software before you can properly insert another element into the scene. It is a lot easier to do with camera tracking than it is if you make a precise recording of the camera position and point of view and then measure everything in the scene and record its position at a specific frame, usually the start of the move.

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  • 12/18/18--17:27: Re: AE 2019 Keeps Crashing
  • Unfortunately, there is a bug in AE 16.0.1 which causes a crash when changing workspaces with extensions that are docked. Could this be what's happening? I know you said it happens even if you let the machine sit, but without more information all we can do is spitball. Also, for the sake of other people reading this post in the future, and also because sometimes people miss updates, please specify which version of AE you're on, rather than saying "the latest." Two weeks ago that was AE 16.0, today it's 16.0.1.


    Have you updated your GPU drivers? Driver conflicts are often the cause of crashes in AE, so that the first thing I usually check.

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    One more hint. Trim the clip so that the product just does one rotation, roto the clip, make sure the first and last frame are identical, apply time remapping, add a new time remapping keyframe at start of the last frame, delete the last keyframe, add loopOut() expression to time remapping and you have a product that will continuously rotate as long as you need it to.

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    If you can't get good tracks then there is more than a 90% probability that it is user error or unsuitable footage for tracking. As I said before use AE tracking at least weekly and have done thousands of shots with nearly perfect shots. Most AE users have no problems with the tracker. That is a fact. If you can't get it to work then the problem is almost certainly with your technique or your shots. Deriding the experience of the folks that are trying to help you understand and use the tools is not only unproductive for you, you are also not going to convince anyone that uses the tracker on a regular basis that it is junk.

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    Did you try interpret footage? You need match the frame rate. Right click in the composition and choose Interpret Footage>Main. Set the right frame rate and see if it works.


    Importing and interpreting footage items in After Effects

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    Send a screenshot of your work area please.

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    Since it's your product, it's much simpler to just reshoot it properly with a pedestal.


    Glue a short thin rod to the turntable (e.g. 1cm wide, 5mm tall), cut a hole in the backing material just big enough for the rod to pass through, put the turntable underneath then stick the product to the rod. Then the product will appear to be sitting directly on the floor while it's rotating.


    The less-simple option is to paint everything green and chroma-key out the turntable, but then you lose the shadows and have to deal with spill.

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  • 12/19/18--00:53: Preview / Rendering Issues
  • So basically I've created a project with quite a few effects and what not however the preview runs extremely slow so I have to leave it for a bit until the green line appears throughout the bottom of the video which allows me to watch it normally. The problem is, when I go to render it, the final rendered video just mimics what happens in the preview, parts of the video and audio stopping for little bits, glitching out ect. I've searched endlessly throughout the internet to find a fix but nothing seems to work.


    - I'm using AE CC 2019

    - My composition settings are HDTV 1080 29.97

    - My render settings are Quicktime, H.264 (I have also tried in Media Encoder 2019 but the problem still persists, even after choosing my desired Youtube preset)


    Thanks in advance.

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    Thanks a lot, Rick, that was quite a detailed and educational response!

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  • 12/19/18--01:45: Re: AE 2019 Keeps Crashing
  • I updated the graphics drivers and the issue was on 16.01, 16.0 and even when I tried CC 2018, However a new GPU driver was released today so i've updated and I will see how that goes i will also have a look into the docking situation, thank you !

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    Dear forum,


    during the tests to move from CC2014 to CC2018 in our production environment, we came across a strange behaviour when importing footage into After Effects.

    The specific file is a DNxHD 185x (Codec-ID QT 2005.03) mov. When imported into AE CC2014, the levels seem ok, there is no clipping to be seen on the scope. The very same file imported into CC2018 shows a heavily clipped scope view. The same behaviour applies to Premiere (thats where the screenshots come from). The levels differ throughout the clip. 

    1. Is this related to the introduced native Quicktime-Importer?

    2. Can this be fixed with settings in AE or PP? The tickbox "Quicktime Gamma Fix" does not help, nor does a specific preset in the colour space.

    3. I tried importing via Adobe Media Encoder fiddling with the Video Limiter options, but I am not sure I get correct results, or at least the same results as in CC2014.

    4. When exporting (from AE) and then importing into Avid Media Composer, both files a treated differently. The CC2018-file is automatically adjusted with an automatic level scaling, while the CC2014-file isn't. The target colour space used in our facility is rec709.


    How can I get this right?  Any help is appreciated!


    Best regards and happy xmas,




    First frame of the clip, CC2014 (left) compared to CC2018 (right)


    Frame 75 of the clip, CC2014 (left) compared to CC2018 (right)


    Colour Adapter-effect in Avid Mediacomposer, automatically applied to CC2018-clip.


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    Don't some of the newer phones have 3d mapping technology?   Maybe one day that data can be used.

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