![]() If you want to do some studying check the User Guide first or start with the tutorials on the After Effects product page which can also be found in the Overview section of this forum. If you can show us the shot or shots you want to use then we can make specific recommendations. Again, this all depends on the original shot and also the footage used as the virtual screen. In other words, a 1,000-lumen projector paired with a 1.2 gain. You may even want to add a subtle layer that simulates the light from the projector interacting with the atmosphere. A 1.1 gain screen makes the image 1.1 times as bright as a 1.0 gain screen a 1.2 gain makes it 1.2 times as bright and so on. You will have to consider color grading, edge control, blend modes, and effects. If the actor moves in front of the virtual screen you will have to create some kind of a mask to either make a hole in the virtual screen or remove the background from the part of the actor that passes in front of the virtual screen.Īs for color correction and final compositing, there are a bunch of options. If the camera is fixed, locked off, then all you need to do is put the projected footage on a separate layer and then add the Corner Pin effect or make the layer 3D and adjust the position, scale and rotation of the image to match the wall. ![]() I would have to actually see the shot to point you to the most efficient workflow. The best tracking option depends entirely on the shot. ![]() Camera tracking is only required if there are huge parallax changes in the footage and the camera is actually moving. Corner Pin tracking using AE's built-in Corner Pin tracker, Corner Pin tracker using the included Mocha AE plug-in or Camera Tracking. If the camera is moving then you have to do some kind of tracking. In the commercial movie theaters, the screen is a reflective surface that may be either aluminized (for high contrast in moderate ambient light) or a white.
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