Some editors want to stick to cutting, while others find it exciting to push their creative boundaries. Why keying? Well, if you’re lucky and have the talent whose face is going to be replaced wearing a bright colored jacket like this blue denim one, it’s so easy to just duplicate the clip, key the jacket out, invert the key, and boom! You’ve got your face merged onto the talent’s body.A common theme among editors and colorists these days is where to draw the line when asked to do more than their job description.
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Once done, head to the first frame, where you’ve previously matched the head and extend the planar surface to be full-frame.įrom there on, it’s more a matter of color grading to match the skin tones and keying to merge the two clips. Select a couple of areas on the same plane and track as needed, forward or backward. You’ll be tempted to track the face, but we’ll actually stick the new head on the body, so the jacket can be a better area to track. Again, apply the Mocha effect and track the clip. A little bit of keying to eliminate the background, and we’re halfway done. If that’s the case, enabling the collapse transformation option will solve the problem.įurthermore, applying the tracking data in reverse will lock the neck, and thus our head in position. Keep in mind, though, that some details could be cut out from the final clip. It’s better to precompose, since having clips of the same size and position helps. Next, we can match the position of the head to the background. Once it’s done, save the layer, as it’s always better to keep things organized, and get back to AE. Now, remove skew as stabilizing parameter if as in this case there’s none, and track forward. In this case, this is the neck of the talent, so use the rectangular spline tool to define it.
Then, head to the first frame, define the area Mocha needs to track. If you are in the Essential workspace, you can easily revert to the Classic one if you prefer. To do so, just find the Mocha plugin in the effects library and drag it over the clip. Even if the talent stands still, there’s always going to be a little movement, which means that we have to stabilize the clip since even the slightest movement will be extremely apparent once the head is replaced in the master shot. The first step is to isolate the head from the green-screen. It’s worth noting that the master shot is in FullHD, while the head-shot is a 4K clip. Here we see the famous “Split” commercial with the martial arts champion and actor Jean-Claude Van Damme as the background shot and a simple mugshot for the head.
Anyone would bet it’s a quite complicated and pro-level task, right? Well, here we have a simple and straightforward tutorial made by flomotion, to track the movement in a shot using Mocha in After Effects by leveraging tracking data to substitute a talent’s head.Īs you can easily imagine, we start inside After Effects, and all we need is two clips: the background-clip, where we intend to place our face, and a green-screen shot of the given face. Sometimes it’s also easier then we’d expect, like face-swapping, for instance. Not everyone is proficient indeed, but since the more we evolve in this digital world of over the top media consumption, the more it’s necessary to be jack of all trades.
The reason is probably that it requires a completely different set of skills from those needed to shoot and edit. Most filmmakers feel intimidated since it’s perceived as a complicated mess.
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