tweaking Warp Stabilizer

i have bumpy sequence featuring string of lights ovehead can reference process warp stabilizer remove handheld camera movement.  unfortunately, there intervening people milling about, getting in way of parts of  string of lights , these moving figures confuse warp stabilizer, switches light string analysis roving human figure.  important maintain light string determine our fixed position.

in case, warp stabilizer simly cannot distinguish between areas of motion people moving , string of lights ‘moves’ in relation camera.  results desire, have created after effects composition of shot in question  warp stabilizer see lights overhead, minus distractions lead track incorectly. 

on several occsions during shot, 1 or more of burlbs on string overhead obscured intervening figure, examine shot find 1 single frame ideally gives unobstructed view of bulbs on string.  make copy, , , create photoshop file in frame reference.  create second layer on top of iand fill black.  eraser tool, pare away holes admitting bulbs on string.  use canvas size tool expand photoshop frame 3 times height , width (with original picture area in centre).  fill in black of mask.

in new afert effects composition place 2 instances of video processed on bottom 2 layers of ae timeline.  put black mask created in layer above 2 videos processed.  reposition mask frame frame such bulbs string of lights show through. want ‘marry up’ cutout , video beneath such can process warp stabilizer. 

question one: do parenting mask , ajacent video layers?

at same time, want warp stabilizer used on parented coupling affect original unmasked video.  question two: how do this?   

it's important realize warp stabilizer cannot fix every shot. if planning long takes moving cameras have either figure out how move camera smoothly or put things in shot hide cuts , cover mistakes. alfred hitchcock master of this. there's shot in frenzy starts wide on public market scene, follows actor through street, continues him inside building, flight of stairs landing hallway, down hallway door. actor goes through door , rises revealing scene inside through keyhole. whole thing looks 1 continuous shot , builds tension in story, in reality 5 or 6 shots cleverly cut hide transitions. example of careful planning 1 of first steadycam shots in feature film. in "bound glory there's high wide shot of migrant workers camp , camera descends ground follows 'woody guthrie through crowd way front of group farm workers waiting called work. in case single shot choreographed garret brown (perfecter of steadycam) way above crowd in bucket , lowered ground stepped out , followed actor through stages , rehearsed path conclusion of shot. both shots have in common careful planning , right equipment. sounds you're stuck footage grabbed without thought or care , you're trying fix in post.

 

in case, there things in scene foul stabilizing need cut shot. shots won't stabilize tools in ae. won't stabilize tools. stabilize can, try , piece parts together. think first telling story effectively. think secondly impressing fix in post skills.

 

nobody amazed more long smooth moving camera shot unless it's necessary tell story don't fret cutting up. sorry, there's not more can do. when it's critical telling story have long moving camera shot have plan it. in cases, story, , film better if cut things up.

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