Hi guys.
So now you're ready to start analyzing and creating the motion path for the attach point.
But but before that there is a very important preference I would like you to set.
Otherwise you won't be able to see all the key frames in the palette.
Please if you are on Windows go to Edit and in edit you go to preferences.
If you are in the map preferences will be under after effects.
In the preferences.
Please go to display in the display group.
You have motion path.
I would like you to set it to all keyframes.
This is how I've been working good but we never had more than 5 keyframes.
Maybe yours was no more than 5 keyframes So set it on all keyframes and click OK.
So now I will be able to see all the keyframes in the lab.
Since you are ready to start tracking make sure that in the current track you are in Track 1 in the
track type.
It is transform and nothing as if by mistake you clicked on rotation or scale and you have another tracker
point first.
Uncheck them OK and come to the tracker point that has been created for you and simply did it.
And we can start now analyzing.
I will move on to fit to 100 percent so we can see the trackball moving.
I know click on and Elize forward of course because we are in the beginning of the comp if we're at
the end we would use an ally's backward Annelise forward.
I click and Helier not how the track point is moving very nicely and very correctly with the guy until
it start getting to this ball and that's what's going to happen.
Wow the track point plus the guy and there is no point of continuing.
So I will stop at now with the preference.
You can see all the keyframes over here.
What we are going to do now is to correct here that it was not necessary move the taskbar to a better
location and then Alana's again so that I pressed on.
If you are the Mac is an option and I was close in.
If you lot is that at a certain point.
OK just over here.
Notice how much there is.
You here you can use a page up and page down.
There is a keyframe on every frame.
So Page down.
It's moving the attach point to the next key frame.
Here you are OK.
We are going to decide which Laskey frame we want.
This is cool since this is a motion path.
You can just click on a keyframe You see I selected the key frame not the attach point and just click
and move it down.
Here you are.
Now notice how it's changing the value in the attach point and the feature Center.
That's how it's doing.
So actually this is a motion path and you are using one frame of the motion past to move it out.
Now after this keyframe Lesage just over here.
You really don't want anything so you'll select all your keyframes I will loom in a bit and select all
the keyframes after the Laskey frame we decided on.
And here you are.
All of them and press delete and are gone.
Good so that's the first adjustment.
Now let's go to the last keyframe I press J to go to the Laskey frame and what you are going to do is
to move in time.
You are.
So the guy reappears the spacebar move it in the middle here we can see it and then reposition the trackball.
Simple just like this.
OK you can pull up and down mess it up the way you like but here is OK.
I think the luminance here is not but then as simple as this you continue tracking lets go to 100 percent
first and click on an Elize for what you are
and says zoom in when it finishes.
Now is that at the end he had it stuck to one point but you have a lot of keyframes you can leave them.
It really doesn't matter.
There is no problem.
Now if you scrub through you'll notice that it's moving on every single keyframe according to the feature
center framed and of course you have the attach point keyframe.
So now that you have all these keyframes and you have a motion path in the next lecture we're going
to start attaching to the attach point and see how it happens.
Thank you I will see you in the next action.