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Both sides of my planning keep the same look throughout and I think it would be best to do what I couldn't in the previous music video project, and try to merge the two types of video together with all the different shots, paired with plenty of animation, motion tracking and CC, I think this will allow me to not specifically specialise in either cinematography or editing, and I could use this project to try and show off my best skills all together in one product, as well as an idea I've had for a while. This would also give me some more time to edit and work, primarily because of the fact that I can work on it almost anytime, less time and effort will be involved in shooting, allowing more focus onto the editing and extra effects, which in my opinion is probably the most important part of what I'm doing.

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While I like the use of text in this lyric video, the continuous shot and also lack of any other shots isn't something I like too much, especially because i want to also show off a range of interesting shots and using the abstract imagery planned to try and add an effect and give the video a key recognisable aesthetic.

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During the 2 weeks off, I plan to come on some occasions to test out my motion-tracking skills in After Effects, as well as creating some CC presets for me to just load up and apply once I start editing, this will not only give me some good practice but will also save me a lot of time later in the project when I have to think more carefully about editing my shots correctly rather than worrying about colour correction.

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Tate Modern (2018)

London, United Kingdom (Visit), 22nd March.

“Ode To Viceroy” https://www.youtube.com/watch?v=6bfTTeZOrs4 (DeMarco, 2012)

“Passing Out Pieces” https://www.youtube.com/watch?v=vF7P3oq8Enc&t=2s (DeMarco, Passing Out Pieces, 2014)

“Tracking and stabilisation motion workflows in After Effects” https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html (Adobe, N/A)

“One Foot”

https://www.youtube.com/watch?v=2Tuyw9WBFkQ (Fun., 2012)

“5 Creative Lyric Videos That Stand out From the Crowd”

https://www.pastemagazine.com/articles/2015/03/5-creative-lyric-videos-that-stand-out-from-the-cr.html (Shinn, 2015)

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I tried to also look for examples of lyric videos that were really creative, and I found an example for a song called "One Foot", which is a really creative lyric video with some interesting techniques.

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1. After Effects User Guide

2. Beta releases

1. Beta Program Overview

2. After Effects Beta Home

3. Features in Beta

1. Import and add 3D models to your composition (Beta)

2. Image-Based Lighting (Beta)

3. Extract and animate cameras and lights from 3D models (Beta)

3. Workspaces

1. General user interface items

2. Get to know After Effects interface

3. Workflows

4. Workspaces, panels, and viewers

4. Projects and compositions

1. Projects

2. Composition basics

3. Precomposing, nesting, and pre-rendering

4. View detailed performance information with the Composition Profiler

5. CINEMA 4D Composition Renderer

5. Text and Graphics

1. Text

1. Formatting characters and the Character panel

2. Text effects

3. Creating and editing text layers

4. Formatting paragraphs and the Paragraph panel

5. Extruding text and shape layers

6. Animating text

7. Examples and resources for text animation

8. Live Text Templates

2. Motion Graphics

1. Work with Motion Graphics templates in After Effects

2. Use expressions to create drop-down lists in Motion Graphics templates

3. Work with Essential Properties to create Motion Graphics templates

4. Replace images and videos in Motion Graphics templates and Essential Properties

5. Animate faster and easier using the Properties panel

6. Animation, Keyframes, Motion Tracking, and Keying

1. Animation

1. Animation basics

2. Animating with Puppet tools

3. Managing and animating shape paths and masks

4. Animating Sketch and Capture shapes using After Effects

5. Assorted animation tools

6. Work with Data-driven animation

2. Keyframe

1. Keyframe interpolation

2. Setting, selecting, and deleting keyframes

3. Editing, moving, and copying keyframes

3. Motion tracking

1. Tracking and stabilizing motion

2. Face Tracking

3. Mask Tracking

4. Mask Reference

5. Speed

6. Time-stretching and time-remapping

7. Timecode and time display units

4. Keying

1. Keying

2. Keying effects

7. Transparency and Compositing

1. Compositing and transparency overview and resources

2. Alpha channels and masks

3. Track Mattes and Traveling Mattes

8. Adjusting color

1. Color basics

2. Color management

3. Color Correction effects

4. OpenColorIO and ACES color management

9. Effects and Animation Presets

10. Expressions and Automation

1. Expressions

1. Expression basics

2. Understanding the expression language

3. Using expression controls

4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines

5. Editing expressions

6. Expression errors

7. Using the Expressions editor

8. Use expressions to edit and access text properties

9. Expression language reference

10. Expression examples

2. Automation

1. Automation

2. Scripts

11. Views and Previews

1. Previewing

2. Video preview with Mercury Transmit

3. Modifying and using views

12. Working with other applications

1. Dynamic Link and After Effects

2. Working with After Effects and other applications

3. Sync Settings in After Effects

4. Creative Cloud Libraries in After Effects

5. Plug-ins

6. Cinema 4D and Cineware

13. Collaboration: Frame.io, and Team Projects

1. Collaboration in Premiere Pro and After Effects

2. Frame.io

1. Install and activate Frame.io

2. Use Frame.io with Premiere Pro and After Effects

3. Frequently asked questions

3. Team Projects

1. Get Started with Team Projects

2. Create a Team Project

3. Collaborate with Team Projects

14. Memory, storage, performance

1. Memory and storage

2. How After Effects handles low memory issues while previewing

3. Improve performance

4. Preferences

5. GPU and GPU driver requirements for After Effects

15. Knowledge Base

1. Known issues

2. Fixed issues

3. Frequently asked questions

4. After Effects and macOS Ventura

5. How After Effects handles low memory issues while previewing

Motion tracking overview and resources

With motion tracking, you can track the movement of an object and then apply the tracking data for that movement to another object-such as another layer or an effect control point-to create compositions in which images and effects follow the motion. You can also stabilize motion, in which case the tracking data is used to animate the tracked layer to compensate for movement of an object in that layer. You can link properties to tracking data using expressions, which opens up a wide variety of uses.

After Effects tracks motion by matching image data from a selected area in a frame to image data in each succeeding frame. You can apply the same tracking data to different layers or effects. You can also track multiple objects in the same layer.

In After Effects, you can track camera motion and place 3D objects in 2D footage much more easily using the 3D camera tracker. For more information, see Tracking 3D camera movement.

Uses for motion tracking and stabilization

Motion tracking has many uses. Here are some examples:

Combining elements filmed separately, such as adding video to the side of a moving city bus or a star to the end of a sweeping wand.

Animating a still image to match the motion of action footage, such as making a cartoon bumblebee sit on a swaying flower.

Animating effects to follow a moving element, such as making a moving ball glow.

Linking the position of a tracked object to other properties, such as making stereo audio pan from left to right as a car races across the screen.

Stabilizing footage to hold a moving object stationary in the frame to examine how a moving object changes over time, which can be useful in scientific imaging work.

Stabilizing footage to remove the jostling (camera shake) of a handheld camera.

Motion tracking user interface and terminology overview

You set up, initiate, and apply motion tracking with the Tracker panel.

As with all properties, you can modify, animate, manage, and link tracking properties in the Timeline panel.

You specify areas to track by setting track points in the Layer panel. Each track point contains a feature region, a search region, and an attach point. A set of track points is a tracker.

Layer panel with track point

A. Search region B. Feature region C. Attach point

The attach point designates the place of attachment for the target -the layer or effect control point to synchronize with the moving feature in the tracked layer.

After Effects uses one track point to track position, two track points to track scale and rotation, and four points to perform tracking using corner pinning.

Online resources for motion tracking and stabilization

Mocha Essentials is a free video training series from Boris FX that teaches everything you need to know about Mocha AE and Planar Motion Tracking.

Curtis Sponsler provides detailed instructions and explanations for tracking and stabilizing motion in a PDF excerpt from his book The Focal Easy Guide to After Effects.

Chris and Trish Meyer provide a video tutorial on the ProVideo Coalition website that demonstrates and explains the basics of motion tracking.

Angie Taylor provides a tutorial on the Digital Arts website that shows how to use tracking data and the Clone Stamp tool to apply copies of an object in a scene while matching a camera move.

Planar Tracking with Mocha AE

After Effects includes the after you launch Mocha AE. To learn more about these features, Mocha AE plug-in from Boris FX, which is GPU-accelerated, and Multi-Frame Rendering supported. Use the plug-in to work with complex tracking shots such as shots with motion blur or objects that move off-screen. It displays in the Essentials workspace by default and contains the basic functionalities. To use the advanced features, such as AdjustTrack, select Workspace > Classic watch this video.

To use Mocha AE:

1. Select a footage layer in your composition and select Effect > Boris FX Mocha > Mocha AE .

2. Click the Mocha logo in the Effect Controls panel to launch the user interface.

OR

Apply Mocha AE after you select a layer in your composition by selecting Animation > Track in Boris FX Mocha.

You can run Mocha in Premiere Pro with the Mocha Pro plugin. To learn more about Mocha Pro and features such as PowerMesh, Remove Module, and Lens Correction, see Boris FX.

Applying Mocha AE data in After Effects

You can use the Mocha AE data inside After Effects in multiple ways:

Replace screens with perspective using corner pin animation.

Transformation animation (position, scale & rotation) for general motion tracking.

To Rotoscope, convert Mocha AE tracked splines to After Effects masks.

After you complete tracking in Mocha AE, exit back to After Effects and use the following steps:

1. In the Effects Control panel under Tracking Data , select Create Track Data . Then select either Corner Pin or Transform.

2. Apply Exportto the selected layer.

Do more with Mocha AE

To convert a Mocha AE layer to a native After Effects mask, in the Effects Controlpanel under Matte, select Create AE Masks. It ignores Mocha's Edge Feathering.

To apply Mocha AE a Mocha spline as an alpha-based matte, after you apply the Mocha AE effect, in the Effects Control panel under Matte, select Apply Matte. It supports Mocha's Edge Feathering.

To learn more about Mocha AE, refer to the following resources:

The Mocha AE plug-in can convert spline shapes from Mocha AE to either rasterized mattes for After Effects layers or to native After Effects masks. For more information, see Resources for Mocha AE Masking.

Motion tracking workflows

There are many ways you can do motion tracking in After Effects, and the method and workflow you follow depend on the nature of your clip, and what you want to track.

Use the mask tracker to draw masks around your object to track only certain objects in your scene.

For detailed information on the mask tracker, see Mask Tracking.

Simple mask tracking lets you quickly apply effects only to a face, such as selective color correction or blurring a person's face, and more.

However, with Face Tracking, you can track specific parts of the face such as pupils, mouth, and nose, allowing you to isolate and work on these facial features with greater detail. For example, change colors of the eyes or exaggerate mouth movements without frame-by-frame adjustments.

For detailed instructions on using the face tracker, see Face Tracking.

Use the 3D camera tracker effect to analyze video sequences to extract camera motion and 3D scene data. You can then correctly composite 3D elements over your 2D footage.

For detailed instructions on using the 3D camera tracker, see Tracking 3D camera movement.

You can track one or multiple reference features in a clip:

One-point tracking: Track a single reference pattern (a small area of pixels) in a movie clip to record position data.

Two-point tracking: Track two reference patterns in a movie clip and use the relationship between the two tracked points to record position, scale, and rotation data.

Four-point tracking or Corner pin track: Track four reference patterns in a movie clip to record position, scale, and rotation data. The four trackers analyze the relationship between four reference patterns, such as the corners of a picture frame or television monitor. This data is applied to each corner of an image or clip to "pin" the clip so that it appears locked in the picture frame or television monitor.

Multiple-point tracking: Track as many reference patterns in a clip as you like. You can manually add trackers within the Analyze Motion and Stabilize behaviors. When you apply a Track Points behavior from the Shape behaviors subcategory to a shape or mask, a tracker is automatically assigned to each shape control point.

For detailed instructions on using the point tracker, see Tips for using the point tracker.

You can stabilize motion with the Warp Stabilizer effect. It removes jitter caused by camera movement, making it possible to transform shaky, handheld footage into steady, smooth shots.

For more information, see Stabilize motion with the Warp Stabilizer VFX effect.

See Tracking and stabilizing motion for more information about using the point tracker for stabilizing motion.

For video tutorials, details, and resources about the Warp Stabilizer effect, see this article on the Adobe website.

Tips for using the point tracker

For motion tracking to go smoothly, you must have a good feature to track, preferably a distinctive object or region.

For best results, prepare the object or region that you are tracking before you begin shooting. Because After Effects compares image data from one frame to the next to produce an accurate track, attaching high-contrast markers to the object or region lets After Effects more easily follow the motion from frame to frame. Lightweight, brightly colored balls (such as ping-pong balls) placed on the feature work well, in part because their appearance is the same from all angles. The number of markers that you use corresponds to the number of points you are tracking. For example, if you're tracking four points using the Perspective Corner Pinning option, you'll track four features, to correspond to the four corners of the layer to attach. The more markers you add to your subject before shooting, the more features you'll have for tracking-but the more items you may have to remove later from the image with the Clone Stamp tool. You don't need to add a marker for each feature if a distinctive object or region is already at the appropriate location.

If you're tracking a large object or the set itself-such as for match-moving-you can get good results by using a grid of uniformly spaced triangles of a uniform size as tracking markers.

When you choose a mode from the Track Type menu in the Tracker panel, After Effects places the appropriate number of track points in the Layer panel for that mode. You can add more track points to track additional features with one tracker.

Before you begin tracking, view the entire duration of the shot to determine the best features to track. What is clearly identifiable in the first frame may later blend into the background because the angle, lighting, or surrounding elements have changed. A tracked feature may disappear off the edge of the frame or be obscured by another element at some point in the scene. Though After Effects can extrapolate the motion of a feature, your chances for successful tracking are highest if you step through the entire shot to select the best candidates for tracking.

A good tracked feature has these characteristics:

Visibility for the entire shot

A contrasting color from the surrounding area in the search region

A distinct shape within the search region

A consistent shape and color throughout the shot

The attach point is where the target layer or effect control point will be placed. The default attach point position is in the center of the feature region. You can move the attach point to offset the position of the target relative to the position of the tracked feature by dragging the attach point in the Layer panel before tracking.

For example, to animate a cloud above a person's head, position the feature region on the head and move the attach point above the head. If you left the attach point centered in the feature region, the cloud would be attached to that point and would obscure the head.

Attach point centered in feature region

Attach point offset from feature region

Place each feature region control tightly around its tracked feature, completely enclosing the tracked feature, but including as little of the surrounding image as possible.

The size and position of the search region depend on the movement of the feature you want to track. The search region must accommodate the movement of the tracked feature, but only the frame-to-frame movement, not its movement throughout the shot. As After Effects locates the tracked feature in a frame, both the feature region and search region move to the new location. Therefore, if the frame-to-frame movement of the tracked feature is gradual, then the search region needs to be only slightly larger than the feature region. If the feature changes position and direction quickly, then the search region needs to be big enough to encompass the largest position and direction change in any pair of frames.

You can also set tracking options that determine such things as which color channels are compared to find a match to the feature region.

You perform the actual motion tracking step by clicking one of the Analyze buttons in the Tracker panel. When tracking a tricky set of features, you may want to analyze a frame at a time.

Because of the changing nature of an image in motion, automatic tracking is rarely perfect. In moving footage, the shape of a feature changes, along with the lighting and surrounding objects. Even with careful preparation, a feature generally changes during a shot and at some point no longer matches the original feature. If the change is too great, After Effects may not be able to track the feature, and the track point will wander or drift.

When the analysis begins to fail, return to the frame where tracking was still accurate and repeat the adjust and analyze steps.

If you're using any Track Type setting other than Raw, you apply tracking data by clicking Apply, after making sure that the correct target is shown for Motion Target. You apply tracking data from a Raw tracking operation by copying keyframes from the trackers to other properties or by linking properties with expressions.

You can also adjust the Attach Point or Attach Point Offset property after tracking in the Timeline panel, which can be useful when applying the same tracking data to multiple targets that you want to distribute around the tracked feature.

Track or stabilize motion with the point tracker

Tracking motion and stabilizing motion are essentially the same process, only with a different target and result. Use Track Motion to track motion and apply the results to a different layer or effect control point. Use Stabilize Motion to track motion and apply the results to the tracked layer to compensate for that motion (for example, to remove camera shake).

To stabilize a layer, After Effects tracks the motion of a feature in the layer that should be stationary in the frame, and then uses the tracking data to set keyframes to perform the opposite motion. You can stabilize to remove any combination of changes in position, rotation, and scale, while leaving desired motion unaffected. For example, if the camera is panning, deselect Position but select Scale and Rotation as the properties to stabilize.

When you select Rotation or Scale in the Tracker panel, you set two track points in the Layer panel. A line connects the attach points; an arrow points from the first attach point (the base) to the second. If possible, place the feature regions on opposite sides of the same object, or at least on objects that are the same distance from the camera. The farther apart the regions, the more accurate the calculations and the better the result.

After Effects calculates rotation by measuring the change of angle of the line between the attach points. When you apply the tracking data to the target, After Effects creates keyframes for the Rotation property.

After Effects calculates scale by comparing the distance between attach points on each frame with the distance between the attach points on the start frame. When you apply the tracking data to the target, After Effects creates keyframes for the Scale property.

When you track motion using either parallel or perspective corner-pinning, After Effects applies keyframes for the Corner Pin effect to the layer to scale and skew the target layer as necessary to fit the four-sided area defined by the feature regions. The feature regions should lie in a single plane in the real world-for example, on the side of a bus, on the same wall, or on the floor. The attach points should also all lie in a single plane, but not necessarily the same plane as the feature regions.

Click Track Motion in the Tracker panel (or choose Animation > Track Motion), click Edit Target, and choose the target to apply the tracking data to.

Click Stabilize Motion in the Tracker panel (or choose Animation > Stabilize Motion). The target layer is the tracked (source) layer.

2. In the Tracker panel, click either the Analyze Forward or Analyze Backward button to begin tracking.

If the tracking ceases to be accurate, click the Stop button , correct the problem as described in Correct a motion track, and resume analysis.

3. When you are satisfied with the position of the feature region and attach point throughout the track, click the Apply button to apply the motion to the specified target.

After Effects creates keyframes for the target layer.

When tracking position and applying this position data to a target, you can choose to apply only the x (horizontal) or y (vertical) component of motion. For example, you can apply the tracking data to the x axis to make a speech bubble (the motion target) remain at the top of the frame even when the actor (the motion source) moves downward.

X And Y (default) allows motion along both axes.

X Only restricts the motion target to horizontal movement.

Y Only restricts the motion target to vertical movement.

To bypass the Motion Tracker Apply Options dialog box and use the previous setting, hold Alt (Windows) or Option (Mac OS) as you click Apply.

When you stabilize a layer, the compensating motion may itself cause the layer to move too far in one direction, exposing the background in the composition or moving action out of the action-safe zone. You can correct this with a small change in scale for the layer. Find the frame where the problem is most severe, and then increase or decrease the scale of the layer until the problem is resolved. This technique adjusts the scale for the duration of the layer; you can also animate scale to correct this problem by zooming in and out at different times.

You set up, initiate, and apply motion tracking with the Tracker panel.

The layer that contains the motion to track.

The tracking mode to use. The motion tracking itself is the same for each of these modes; they differ in the number of track points and how the tracking data is applied to the target:

Stabilize tracks position, rotation, and/or scale to compensate for movement in the tracked (source) layer. When tracking position, this mode creates one track point and generates Anchor Point keyframes for the source layer. When tracking rotation, this mode creates two track points and produces Rotation keyframes for the source layer. When tracking scale, this mode creates two track points and produces Scale keyframes for the source layer.

Transform tracks position, rotation, and/or scale to apply to another layer. When tracking position, this mode creates one track point on the tracked layer and sets Position keyframes for the target. When tracking rotation, this mode creates two track points on the tracked layer and sets Rotation keyframes for the target. When tracking scale, this mode creates two track points and produces Scale keyframes for the target.

Parallel Corner Pin tracks skew and rotation, but not perspective; parallel lines remain parallel, and relative distances are preserved. This mode uses three track points in the Layer panel-and calculates the position of the fourth-and sets keyframes for four corner points in a Corner Pin effect property group, which is added to the target. The four attach points mark the placement of the four corner points.

Perspective Corner Pin tracks skew, rotation, and perspective changes in the tracked layer. This mode uses four track points in the Layer panel and sets keyframes for four corner points in a Corner Pin effect property group, which is added to the target. The four attach points mark the placement of the four corner points. This option is useful for attaching an image to an opening door or the side of a bus that's turning a corner.

Raw tracks position only. Use Raw to generate tracking data that you won't apply using the Apply button. For example, you can copy and paste the keyframes for the Attach Point property to the Position property for a paint stroke; or, you can link effect properties for the Stereo Mixer effect to the x coordinate of the Attach Point property using expressions. Tracking data is stored on the tracked layer. The Edit Target button and the Apply button are not available with this tracking option. You can add track points to a tracker by choosing New Track Point from the Tracker panel menu.

Begins the frame-to-frame analysis of the track point in the source footage:

Analyze 1 Frame Backward : Analyze the current frame by moving back to the previous frame.

Analyze Backward : Analyze from the current-time indicator backward to the beginning of the trimmed layer duration.

Analyze Forward : Analyze from the current-time indicator to the end of the trimmed layer duration.

Analyze 1 Frame Forward : Analyze the current frame by advancing to the next frame.

These settings apply to a tracker, a group of track points that is generated in one tracking session. You can modify these settings by clicking Options in the Tracker panel.

3rd May is an Adobe-paid holiday. So, as per policy, my sabbatical end date changes from 13th May (Friday) to 16th May (Monday).

Select Continue Tracking to ignore the Confidence value. This behavior is the default behavior.

Select Stop Tracking to stop the motion tracking.

Select Extrapolate Motion to estimate the position of the feature region. Attach-point keyframes aren't created for low-confidence frames, and attach-point keyframes for the low-confidence frames from previous tracks are deleted.

Select Adapt Feature to use the original tracked feature until the confidence level falls below the specified threshold. At that point, After Effects adapts the tracked feature to be the contents of the feature region in the frame preceding the one that has low confidence and continues tracking. This option isn't available if Adapt Feature On Every Frame is selected in the Motion Tracker Options dialog box; enabling feature adaptiveness causes After Effects to adapt the feature region with every frame regardless of the confidence level.

Motion tracking properties in the Timeline panel

Each time you click Track Motion or Stabilize Motion in the Tracker panel (or choose Animation > Track Motion or Animation > Stabilize Motion), After Effects creates a new tracker for the layer in the Timeline panel. Each tracker contains track points, which are property groups that store the tracking data after tracking has been performed. After Effects groups trackers in the Motion Trackers property group for each layer in the Timeline panel.

You can rename trackers and track points and modify and animate their property values in the Timeline panel just as you do for other layer properties and property groups. You must click Apply in the Tracker panel to apply the property changes to the target.

When you set up motion tracking, it's often necessary to refine your track point by adjusting the feature region, search region, and attach point. You can resize or move these items independently or in groups by dragging using the Selection tool. To help you define the area to be tracked, the image area within the feature region is magnified to 400% while you move the region.

Track point components and Selection tool pointer icons

A. Search region B. Feature region C. Keyframe marker D. Attach point E. Moves search region F. Moves both regions G. Moves entire track point H. Moves attach point I. Moves entire track point J. Resizes region

To turn on or off feature region magnification, choose Magnify Feature When Dragging from the Tracker panel menu.

To move the feature region, search region, and attach point together, drag inside the track point area (avoiding the region edges and the attach point), or press the Up, Down, Left, or Right Arrow key. Hold Shift while pressing an arrow key to move by an increment 10 times as large.

To move only the feature and search regions together, drag the edge of the feature region, or Alt-drag (Windows) or Option-drag (Mac OS) with the Selection tool inside the feature or search region. You can also hold Alt (Windows) or Option (Mac OS) while pressing the Up, Down, Left, or Right Arrow key. Hold Alt+Shift (Windows) or Option+Shift (Mac OS) while pressing an arrow key to move by an increment 10 times as large.

To move only the search region, drag the edge of the search region.

To move only the attach point, drag the attach point.

To resize the feature or search region, drag a corner handle.

To make all of the sides of the region match the length of the longest side, and to resize the region relative to the original center point of the region, Shift-drag a corner handle.

To make all of the sides of the region match the length of the longest side, and to resize the region relative to a particular corner handle, Ctrl+Shift-drag (Windows) or Command+Shift-drag (Mac OS) the opposite corner handle.

Apply tracking data to a new target

After you've tracked a motion source layer, you can apply the tracking data stored on that layer to any number of other target layers and effect control points. For example, you can apply the track to the position of a light bulb and to the effect control point of the Lens Flare effect.

As an image moves in a shot, the lighting, surrounding objects, and angle of the object can all change, making the once-distinct feature no longer identifiable at the subpixel level. Also, if the search region is too small, the tracked feature may leave its bounds from one frame to the next.

Learning to choose a trackable feature takes time. Even with careful planning and practice, the feature region can drift away from the desired feature. Re-adjusting the feature and search regions, changing the tracking settings, and trying again is a standard part of automatic tracking. It's not necessary to get a single good track in one try. You may need to track the shot in sections, redefining the feature region in places where the feature changes and the region drifts. You may even need to choose a different feature to track, one with movement that closely matches that of the feature to track, and use the attach point offset to place the target.

After you've tracked motion, each track point has a motion path in the Layer panel that shows the position of the center of the feature region. You can fine-tune the keyframes of the motion path in the Layer panel as you would any other motion path. Modifying the motion path is most useful when you want to manually change the motion tracking data before applying it to a target. In some cases, it may be easier to manually modify the motion path created by the motion tracker than to get a perfect track.

Motion source and its motion path

A. Moving the feature and search regions B. Keyframe marker

Correct drifting by adjusting the feature and search regions

Correct drifting by modifying tracking settings

Stabilize motion with the Warp Stabilizer VFX effect

You can stabilize motion with the Warp Stabilizer effect. It removes jitter caused by camera movement, making it possible to transform shaky, handheld footage into steady, smooth shots. See Tracking and stabilizing motion for more information about using the point tracker for stabilizing motion.

For video tutorials, details, and resources about the Warp Stabilizer effect, see this article on the Adobe website.

Warp Stabilizer VFX | After Effects CC

An upgrade to the Warp Stabilizer, VFX adds the ability to choose which objects within a scene get stabilized.

Stabilize with the Warp Stabilizer effect

To stabilize motion using the Warp Stabilizer effect, do the following:

In After Effects CC:

Go to the Effects & Presets panel > Distort and apply the Warp Stabilizer VFX to the layer.

Right-click the footage item in the Timeline panel and choose Warp Stabilizer VFX.

After the effect is added to the layer, analysis of the footage begins immediately in the background. As analysis begins, the first of two banners displays in the Composition panel indicating that analysis is occurring. When analysis is complete, the second banner displays a message that stabilization is occurring.

You are free to work with the footage or elsewhere in the project while these steps are occurring.

Warp Stabilizer VFX / settings

There is no need to press this button when you first apply Warp Stabilizer; it's pressed for you automatically. The Analyze button remains dimmed until some change takes place. For example, if you adjust a layer's In or Out points, or there is an upstream change to the layer source. Click the button to reanalyze the footage.

Cancels an analysis in progress. During analysis, status information appears next to the Cancel button.

Stabilization settings allow for adjusting the stabilization process.

Controls the intended result for the footage (Smooth or No Motion).

Smooth motion (default): Retains the original camera movement but makes it smoother. When selected, Smoothness is enabled to control how smooth the camera movement becomes.

No Motion: Attempts to remove all camera motion from the shot. When selected, the Crop Less <-> Smooth More function is disabled in the Advanced section. This setting is used for footage where at least a portion of the main subject remains within the frame for the entire range being analyzed.

Specifies the most complex operation the Warp Stabilizer performs on the footage to stabilize it:

Position Tracking is based on position data only and is the most basic way footage can be stabilized.

Position, Scale And Rotation Stabilization is based upon position, scale, and rotation data. If there are not enough areas to track, Warp Stabilizer chooses the previous type (Position).

Perspective: Uses a type of stabilization in which the entire frame is effectively corner-pinned. If there are not enough areas to track, Warp Stabilizer chooses the previous type (Position, Scale, Rotation).

Subspace Warp (default): Attempts to warp various parts of the frame differently to stabilize the entire frame. If there are not enough areas to track, Warp Stabilizer choose the previous type (Perspective).

The method in use on any given frame can change across the course of the clip based on the tracking accuracy.
Note: In some cases, Subspace Warp can introduce unwanted warping, and Perspective can introduce unwanted keystoning. You can prevent anomalies by choosing a simpler method.

(After Effects) When enabled, prevents the Warp Stabilizer from trying to adjust forward and backward camera movements with scale adjustments.

Borders

Borders settings adjust how borders (the moving edges) are treated for footage that is stabilized.

Controls how the edges appear in a stabilizing result. Framing can be set to one of the following:

Stabilize Only: Displays the entire frame, including the moving edges. Stabilize Only shows how much work is being done to stabilize the image. Using Stabilize Only allows you to crop the footage using other methods. When selected, the Auto-scale section and Crop Less <-> Smooth More property are disabled.

Stabilize, Crop: Crops the moving edges without scaling. Stabilize, Crop is identical to using Stabilize, Crop, Auto-scale, and setting Maximum Scale to 100%. With this option enabled, the Auto-scale section is disabled, but the Crop Less <-> Smooth More property is enabled.

Stabilize, Crop, Auto-scale (default): Crops the moving edges and scales up the image to refill the frame. The automatic scaling is controlled by various properties in the Auto-scale section.

Stabilize, Synthesize Edges: Fills in the blank space created by the moving edges with content from frames earlier and later in time (controlled by Synthesizes Input Range in the Advanced section). With this option, the Auto-scale section and Crop Less <-> Smooth More are disabled.

Displays the current auto-scale amount, and allows you to set limits on the amount of auto-scaling. Enable Auto-scale by setting framing to Stabilize, Crop, Auto-scale.

Maximum Scale: Limits the maximum amount a clip is scaled up for stabilization.

Action-Safe Margin: When non-zero, specifies a border around the edge of the image that you don't expect to be visible. Thus, auto-scale does not try to fill it.

Scales up the clip with the same result as scaling using the Scale property under Transform, but avoids an extra resampling of the image.

Determines the aim for the effect: for stabilizing, for temporary stabilization to perform visual effects work, or to composite a layer into a shaky scene. Choose an objective:

Stabilize Default option for normal stabilization

Reversible Stabilization and Reverse Stabilization Use these options to apply an effect to a region. Use two instances of the Warp Stabilizer VFX effect, one with Reversible Stabilization to steady a shaky object, and a duplicate instance with Reverse Stabilization to insert the shake back in, so that any effects you apply after Reversible Stabilization appear within the original scene.

Apply Motion to Target and Apply Motion to Target over Original Use these options to composite a layer into a shaky scene to apply the stabilized motion onto a different layer.

Choose a layer to which the stabilized motion is applied using the Apply Motion to Target or Apply Motion to Target over Original options.

Warp Stabilizer workflow tips

If the result is good, you're done with stabilization. If not, do one or more of the following:

If the footage is too warped, or distorted, switch the Method to Position, Scale, Rotation.

If there are occasional rippled distortions, and footage was shot with a rolling shutter camera, set Advanced > Rolling Shutter Ripple to Enhanced Reduction.

Try checking Advanced > Detailed Analysis.

When Framing is set to one of the cropping options and the cropping gets extreme, a red banner appears saying, "To avoid extreme cropping set Framing to Stabilize Only or adjust other parameters." In this situation, you can either set Framing to Stabilize Only, or Stabilize, Synthesize Edges. Other options include reducing the value of Crop Less <-> Smooth More, or reducing Smoothness. Or, if you are satisfied with the results, enable the Hide Warning Banner option.

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Learn about tracking and stabilizing motion workflows in After Effects. Learn to use the point tracker, the different effects and settings available for tracking.

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I imagine I would do a lyric video for the same songs, and not change too much in terms of the theme, I'd just need to animate.

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It would involve a lot of motion tracking, which means a lot of experiments and testing beforehand.

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I'd need to look up some tutorials online or either experiment myself before the project begins, to make sure I know how to do it, I could even create some experiments using the past footage or stock footage to try and make some pre-made plugins for me to just load up and use.

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Some of the art at the Tate Modern, especially the Neon room really inspired to use that kind of electrical art and imagery to go along with the video, it could help to motion track lyrics.

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I definitely think I could use this to show off my editing skills and really try to focus on them in one last project.

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I had a brief idea of this on the Tate Modern trip, where we ended up going through some of those areas on the journey, a gritty place would be perfect.

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I was thinking of using an urban environment, trying to create a different world inside the everyday.

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I want to try and use a fisheye lens and VHS effect for a key theme.

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I was able to get more inspiration from the trip to the Tate Modern that we went on, as all the different pieces of art there as well as the environment around the building gave a lot of inspiration to a lot of us. In particular, I really liked the neon room which made use of lights and electricity to make art, what I liked was the use of TV screens (old ones in particular) to show off images and videos with that same VHS effect seen in the Passing Out Pieces video.

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These two tracks along with their videos really helped me to visualise the kind of theme I want as they inspired it very heavily, especially with the look and feel of both these videos with the various editing effects used.

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Mac DeMarco - Passing Out Pieces (Official Video)

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Mac DeMarco // "Ode to Viceroy" (OFFICIAL VIDEO)

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Most of my research pre-FMP has come from watching a lot of different music videos, short films, and listening to particular music, most of which has given me an idea of what kind of theme or look I want my music video/short film to have.