How to use Rampant Travel Style Mattes in Adobe Premiere Pro

How to use Rampant Travel Style Mattes in Adobe Premiere Pro

VFX Artist Sean Mullen shows how to use the Rampant Travel Style Mattes in Adobe Premiere Pro. Sean first shows how to use Track Mattes in Premiere Pro. Then he shows how to use the track matte technique to easily build 2, 3 and 4 video split screens.


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How to Use Rampant Travel Mattes in Adobe Premiere Pro Tutorial Transcript:

Sean Mullen:

Hey, what up, party people? I'm Sean Mullen from and today I'm going to show you how to use Rampant's brand new Travel Style Mattes. If you're like, "Wow. Wow. Wait a second, what are these style mattes you speak of," they're these right here. There are 104 of them. They're really designed to break out multiple images in a video for travel or for vlog. I mean you can use it for anything. I'm not going to come to your house, "Hey, this is not a travel video. You can't use this." It doesn't work that way.



You can do it with whatever you want. You can put any kind of video in here you want, but the whole point was that travel videos and vlogs have lots of imagery hitting you all at once. These were designed to help facilitate that. All right. Let's jump into Adobe Premiere Pro. I'm using like CC 2018 I believe. It doesn't matter what version you're using as long as you have Track Matte Key, and that's pretty much every version that I can think, so it doesn't really matter. Let's jump on it. First thing's first, I'm going to show you really quick what we're going to build here. We're going to do this shot right here. This is basically an introduction to track matting.



If you've never done track matting before, we're going to start with one image and track matte it. Then I'm going to show you how to reposition it and of course, do some lovely goodness like this. Then of course, if you can do one, you can do two. Let's go ahead and do a split matte of two and I'll show you how to do that very, very simply. Of course, once you do one and two, you can do three and so on and so forth. We're just going to keep hammering this home until we all like what we see and know the track matting procedure through and through. Of course, we're going to finish with this lovely bonus of four. All right.



Let's jump in the very beginning and make ourselves our very first track matte and that's just this simple shot right here. Taking this shot right here of this girl walking through the park on her phone searching something and we're going to put it in this matte right here. Okay. It looks like that. Right? Cool. Let's just scooch some of this stuff down here. Give ourselves a little bit of room. There we go. Just scooch them all down. All right. What we want to do is we want to build this and then ultimately build that. How do we do it? Well, first, we need our clips. Right? Right here is our footage of the girl walking through the park.



Right here is one of our travel mattes from our Rampant Travel Style Mattes.  Now if you're following along, this is matte number 57. Okay. The matte just does this. It goes joop, holds, and it goes joop. Right? Cool. How do I do that? Well, first we grab our shot and then we grab our matte. Our matte's already here in our timeline, but because I know which matte it is, we'll just go over here to the project window. I'm looking for 57, which is this one right here you all. See? Then just drag it from the project window above my clip like so. Okay. It's going to look something like this. Now it's important to note that these mattes are 4K and I'm working in HD.



Right? I have a lot of flexibility. If I want to be able to reposition these mattes or do anything with them, all I have to do is I can right click and hit scale to frame size and that will actually fit or wedge the matte into an HD frame or if I don't do that, if I highlight this clip right here, which is our matte and go under effect controls or shift five, you can reposition it manually it and scale it manually. I can scale it down, la, la, la, la, as long as I don't go pass 50% because that would be smaller than HD. See, now I can reposition it. See? Cool. I'm going to go ahead and undo, and undo. Cool. I'll just leave everything the way it was. All right.



Now we have this matte over this girl and you're like, "What is happening? What do I do?" What we want to do is there's only one other step and that's Track Matte Key. We would just go over to our effects window right here and type in track. See? Right there. It's under video effects key, Track Matte Key. Go ahead and drag that to our bottom layer, our video footage, boom, like that, and then it's going to come up here under effect controls. Shift five if you don't have it open. It's right here, Track Matte Key. There's only a couple of questions you have to answer. One, matte. Where's the matte? Right now it says there is no matte, so you don't see anything.



Well, our matte right here if we zoom in right here, we put our matte on layer two. Let's just go matte layer two. Boom. There we go. Of course, the next question is composite using Matte Alpha or Matte Luma. These all have alpha channels, but because they're white and black, Luma works as well. Then if you really quickly want to do the opposite, you can just click reverse and you'll get the opposite of your matte right there. That's it. Let's just go ahead and redo the track matting real quick without all my ... I'm just rambling on. Let's go ahead. I'm just going to delete these right here. Grab both these clips once again.



I've got my stock footage here and I've got my matte here. I'm going to put my matte over my stock like so. What do we need to do? We need to do Track Matte Key, right? Highlight our bottom layer, go to your effect window and go Track Matte Key. Drag it to your bottom layer. Boom. Go up to your effect controls, shift five if it's not open already, and right here under Track Matte Key, set your matte from none to whatever layer your matte is on. If my matte was up here on layer eight and I selected layer two, nothing's going to happen, right, because there's nothing on layer two. If I put it at layer eight, bingo bango, we now have our video and our matte.



Think of a Play-Doh extruder. The only thing going through the extruder is what you're going to see. Right here is not black. This is invisible. This is negative footage. There's nothing here. There's the absence of video. You're basically pushing your video through whatever is white, right? If you think of it as just pushing video through holes, video holes if you will, that's all it is. We get this question everyday and we're just trying to figure out other ways of explaining it so it connects. That's basically track matting. That's it. If you can do this, you can do every single kind of track matte that Rampant makes.



Now let's start getting into something that's a little bit more technical, a little bit more fun. I don't necessarily want the video to be clipped this way. This kind of looks silly. You're like, "Wow, that's a really weird framing," right? I'm not entirely certain when that would be necessary unless you're going to do a video on how to not frame video, right? What do we do about this? Well, this is where nesting comes in. Okay? What we need to do is we've already got this track matte built, so we need to break it. Go ahead and click on your bottom video layer and go to Track Matte Key right there and just delete it. Boom. Right? Go back to where we were before.



Now let's go ahead and highlight our video layer, and then right click, and click nest. Now here you'll see nested sequence name right here. You should label this. I'm not going to because this is a tutorial, but you should absolutely label your nested sequences. Otherwise, you're going to be like, "Listen, I don't know if it's sequence 55 or 317." Just go ahead and label it, right? Cool. You're like why did I put one clip in another timeline? Why would I do that? I'll show you. Watch this. Okay. We basically have our nested clip here and our track matte from before. Let's go under effects, drag Track Matte Key up and tell it it's on layer eight, just like we did before, boom.



Right? Nothing's different, right? Now watch this. I'm going to double click on my nest, which opens up the original timeline where I nested my clip. I'm going to highlight my clip here, shift five to go to effect controls, and I'm just going to move this over like that. Right? I'm going to go back to my main timeline and boom. She's now perfectly where she should be in the frame and not just weird off-centered, right? Now this becomes more powerful for me. Now I'm like, "Oh, I can use this," right? One extra step. Let's do that again just to be clear about what we're doing here. I'll start with fresh footage. Once again dragging these two clips over into a new fresh part of my timeline.



You've got your stock footage. You've got your matte. Put your matte above your stock footage and we'll just keep it on the same layer eight. Let's go to our stock footage right here or our footage in your timeline, and right click and hit nest. Hit okay after you label it course. Then drag your Track Matte Key to your nest like so and then tell the track matte, "Hey, where's the track matte? Hey, it's on layer eight." Boom. Then we're good. You double click on the nest. Boom. Highlight your video footage. Go to shift five to go to effect controls and then you reposition your footage as you like. I'm going to scooch that over there and boom.



We have ourselves a perfectly framed shot. You're like, "Okay. Well, what else can I do, Sean? You showed me this thing. That is not this." You are absolutely correct. This question happens every single day. How do I get rid of the black background? This is not a black background. There is nothing here. This can be anything. You can put a solid here, video here, whatever you want. You could put the news back here. This is not a black background. What do we do to change that? Well, we need to move this layer up so we can put something beneath this. Let's just scooch this layer up here real quick like so. Then let's see.



What should we put back here? I don't know. Maybe just another piece of footage, right? Let me just grab some random footage.



I'm not quite sure how to help you with that.


Sean Mullen:

Seriously, Alexa. You're killing me. All right. Grab some random stock footage. Who knows? There we go. Cool. Actually that just happened to work out. Wow. I'm going to say I planned that even though I did not. Cool. Right underneath here. It's kind of a short clip. See? There you go. You've got her preparing to travel on the right and traveling on the left. Maybe you're like, "Well, I don't really want that shot. I just want that blurred cool background that you saw." Right? Well, cool. No problem. That's easy. Just go ahead and delete that.



Highlight your matted layer like so and option drag it down, and then hit shift five. We're going to go ahead and scale this way, way up like so. Then I'm going to turn off the track matte and I'm going to go to effects. I'm going to type in GAU for Gaussian blur. Drag it up. I'm going to scale like that to like 300-ish. I don't need to adjust the scale to 2,400. That's just a little cray, but you know what I mean. Just make it nice and soft. I think by going that I'm killing too much of the saturation. There we go. Then roll it back. Boom. See? Real easy. Now you don't even have to go that crazy. You can just do a color too.



If you just over here to your project window and you do file, new color matte, hit okay, and let's just pick a color. I'll hit this bluish, purpley thing right here. That's good. Just drag that over and put it underneath. See? There you go. This right here is not a black background. It's no background. It's zero footage. When you're ready to put something back here, it's super, super easy. Okay. Cool. We've done our basic track matte, and we've showed you how to nest it, and we've showed you how to put something in the background. This is the basics of all that you need to know for track matting. You know exactly how to do everything.



You don't actually have to follow through to learn how to do this one or the three one or the four one. It's just multiple steps. That's it. All right. Let's go ahead, and like I said, build this one. This is more of like a vlog style shot where you've got both people talking or looking at the camera. Just a cool little split screen. Lot of travel screens do this. It's just a great way to split video and show multiple images at once. It's not straight down. If you notice, it's a little bit tilted here. That's just to give it a little bit more of a fun look. It's not so clean and corporate. Okay. How do I get this in this? Well, you know exactly how, right?



It's the same exact procedure as what we did here. You're going to nest it. You're going to put it inside the track matte and then you're going to reposition inside the nest. We're going to repeat that step for both sides. Okay. Let's do it to it. All right. Let's go ahead and drag our two clips here. Boom and boom. Let's highlight those and option drag them over to a fresh little space here. Moving over. Because we're putting these on the exact same time, we'll go ahead and stack this. This will go on the bottom and that shot will go on top. You won't be able to see both shots, but they're there. You can always turn the eyeball here off to audition your shots. All right.



The next things we need are our mattes, which are right here and here. Let's move these up and let's put these on, I don't know, six and seven maybe. All right. Let's just double check where these are. This is the right matte and this is the left matte. I'm going to just go ahead and do that. Pull that down. I've got the left matte and then the right matte. Right? Left matte. Right matte. Cool. Then I've got them. I want these people in this matte and this dude in this matte. Right? Real simple. What did we do last time before we track matted? We nested, right? Let's go ahead and highlight this clip right here, right click and click nest.



Boom. Don't forget to label. Once again click the layer above it. Do not nest these layers together. Right click and hit nest and make sure you label. Now we've got two nested clips and our two Rampant mattes. Remember this bottom layer goes to here and this top layer goes to here. If you need to write that down on a scratch piece of paper when you're working, it's all good. Just do whatever you can and make sure that you're not transposing your layers. What do we do next? We go ahead and add our Track Matte Key over here under effects. If it's not there and you don't know where it is, go and type in track like so.



Then drag Track Matte Key over onto the bottom layer right there. Then after our bottom layer is highlighted, hit shift five to open effect controls, which you'll see right here. There you go. Track Matte Key and we just answer the same questions as always. Where is your matte? This matte is on layer seven, right? Cool. Now you can't see this right now, let's turn this guy off, because we still have one non-nested piece of video covering this. When you're building this, don't freak out and start going, "This doesn't work. Everything you're telling me is wrong. I'm doing everything you say. This sucks. I hate you." There's no need for hate.



I got nothing but love for you. This is the way Premiere works, right? When you're in the halfway point, it's going to look wrong. Trust the process. If it doesn't work for you, go back and retrace your steps, right? If you ever get lost, feel free to turn layers off to avoid confusion because right now you're like, "Oh my gosh. What is this? This is a mess." Right? Trust me. It's working. To catch us back up, bottom layer, right here, Track Matte Key and it's on layer seven. Right? I've turned this layer, the layer above it, off. Okay? Now let's go to the layer above it, right here, and we'll go ahead and do Track Matte Key again.



Now something cool is if you've already done Track Matte Key in your timeline, you don't have to keep finding it and dragging it, which we've done, right? Just highlight our bottom layer right here, highlight Track Matte Key and hit copy, and then go up to your top layer and hit paste. You now have Track Matte Key. Now of course it's pointing to the wrong layer so you want to make sure it's ... Instead of layer seven, it's layer eight, right? Let me turn that on and boom. See? Cool. Now we've lucked out. This sort of is in the frame. This is not in the frame. Right?



You're like, "Well, unless you're going to scour the universe for shots that fit in these frames, this is why we do nested comps, right?" First thing's first, let's address her. Double click on the nested sequence and we're going to highlight her, go to shift five for effect controls, and just scooch the frame right on over like zip, like boop, like that. That's probably pretty good. Actually, a little too much, so I'm going to scooch it right on back like that. Coolness. We're happy. I'm good with the shot on the left side. Again the shot on the right, I don't know if he's just afraid of the camera or if his friend is supposed to be there, but that's not right.



Let's go ahead and double click on that and highlight the layer, shift five for effect controls, and scooch the position to the right like that. Now we have ourselves a much more decent looking comp. Let's go ahead and let's just go like this. Hit render in and out. There you go. You've got yourself a really nice looking splitting that's unique, it's clean, and it took two seconds to build, right? This brings me really quickly up to my point about nesting. For some reason when I say nest to comp, people flip out. They lose their minds. I'm not nesting. They act like it's the devil.



Like you say nesting like, "Wow, wow, wow. Who dropped Voldemort up in here? You don't be saying that V word up in here." It's the weirdest thing. It's just a timeline in a timeline and it's a very powerful way of getting much more complex composites in through your timeline. If you're an After Effects user, I mean pre-comping is nesting. Nesting is pre-comping. Timelines inside of timelines is a very common thing especially in the Adobe ecosystem. Don't be afraid of nesting, but I'm going to show you definitively right now why nesting is the bomb and why you shouldn't be worried about it and you should embrace it. Okay.



We've got this really great shot, right, but what if you want edits to happen here and here? Are you telling me I got to rebuild all this and then like scooch stuff up and like move it over? No way. I'm not doing that. No. You're right. You're not doing that. That would be a mess. I don't even know why we would do that. Here's why nests rule. Double click on this shot right here. We're in this shot like so. I'm going to go ahead and just scooch the shot up. Duplicate it by option dragging it up. I'm just going to find any other random piece of stock footage. Sure. That's great. Let me go ahead and option drag it over.



The reason I'm doing that is so it's kind of in the same reposition. It doesn't need to be. I didn't need to do that, but I can. Right? Then I'm just going to move the shot over to where it's an edit now. Boom. Boom. Like that, right? See? I can add as much footage as I want in there. Now that this thing is built, I can just make a whole edit and then just put it in here. I can make a wonderful just cuts only piece of this beautiful travel footage. Just people exploring, all this stuff, and then I can feed it through this thing, and I've only done that track matte once. I don't have to do it again.



You can make these things even more complex by putting multiple edits in the timelines. That's why I love nesting. That's why nesting is your friend. It's just one step. You right click and you hit nest. It's not something to be upset about. All right. You've done one track matte. You've done two track mattes. You've nested and then you've made edits in the timeline. This is crazy. What's next? Well, of course, if we go do two, we're going to do three. We're going to do boom, boom and boom. We're going to put these shots right here into this right here. See? This is a great way to convey a bunch of information all at once whether it's related or not, and it looks pretty.



Of course, like I showed you before, back here can be blurred video, another piece of video, an animated background, any kind of colored matte. You name it and it can be there. It doesn't have to be over black or the perception of black. Like we had said before, this is really the absence of video. How do we do this? Well, you know exactly how we do this. We just did it except instead of two times, we're going to do it three times. Let's get busy. All right. Let's go ahead and drag our stock footage to a new nice little clean place in the timeline like so. Remember these are all taking place on the same exact piece of time, so same exact frames.



I'm going to scooch these up so they all start and overlap one another. Like I said before, you can't see all the videos. If you want to make sure where your video is, just turn off your eyeballs here, turn off your layers, and you're good to go. What else are we missing? Well, we have to have these awesome mattes. Let's go ahead and drag them up and over here like so. Basically that's what you're going to have, like that. Okay. What did we do? We nested. Let's go ahead and nest each clip. Make sure to label them. Boom, boom and boom. All right. Now that's our right, that's our middle, and that's our left. Let's go ahead and just do that so things are in a little bit more normal order here.



All right. We've got our left, our middle, and our right. Okay. Now we've got them nested and we've got our mattes. The only other thing to do is track matte. Like I said before, you can copy. You've already done that here. Just go to effect, copy. Let's go over here and hit paste. As you notice, it'll paste it right there or if you won't do that, you can go to effects, type in track here if it's not already typed in there, T-R-A-C-K, and then drag that over right to your bottom layer. Boom. Okay. To make things a little less complicated, I'm going to go ahead and turn off two and three. All right.



That way I'm not confusing myself with additional footage, and we can just work on each piece of footage that we want to work on. Okay. This right here is this girl. All right. We want her probably, I don't know, either on this one or this one. Let's go ahead and put her on the right. We've got Track Matte Key, and our right matte is on layer eight. Let's go ahead and go from none to layer eight. Boom. You can see that if we turn that layer off, this whole frame is wedged into here. We're definitely going to need to go into her nest and shrink her down, but she's built so let's move on. Turning that layer off and the middle layer on to make things a little bit easier.



We've got the beach. Let's go ahead and put the beach over here. Okay? We want that on our very first layer. We've already done Track Matte Key, so I'm just going to copy off the bottom layer, highlight the middle layer and hit paste. Then I want this to be on the very first layer. That's going to be video layer six. Like so. Boom. Okay. Cool. Turn that off. Then our last shot, which is the packing shot, which is this right here, remember I've already copied and pasted, so it's in my clipboard right now, but if you're not sure, you can just go ahead and highlight your layer again and hit paste and boom, you've got yourself a Track Matte Key.



Of course, it's pointing to the wrong layer, so let's go ahead and put that in seven. Boom. Now we've got everything working. Turn all the layers on and roll it back. We have ourselves a working matte. However, all of the shots are the wrong size. I mean you might be able to get away with that beach shot, but for the sake of this argument, let's just go ahead and just tweak everything. We've got this great shot of this girl hanging out on her car window. It looks like she's shooting a video or a photo of the beach as they roll by. Let's go ahead and shrink that down like so. Let's go ahead and take a look at that. That's pretty darn good.



Not too shabby for taking a little bit of a guess there. Let's go ahead and shrink it down just a little bit more. Maybe 55. Let's do 50. Let's move it over. Boom. Cool. I want to show you one additional thing I want to show you about working with track mattes. It's actually a benefit, not a hindrance, but there's a lot of times where I will repo the footage to make it look like the matte is doing secondary or tertiary animation, but in reality what I'm doing is I'm playing with the footage inside the matte. What do I mean by that? Well, right now you can see this girl filling the entire frame here, right?



If we double click on her and I pull the frame halfway, it was all the way over here and now it stops here, check it out. It looks like the matte stops here, right? Of course, if I go ahead, and I animated this, or I moved it around, you would see that matte grow no matter what I do here. See? Right here. My point for this is if you're ever putting a shape or a piece of video inside a matte, and you're like, "Oh, it doesn't work. There's something wrong," it's most likely because you've shrunk your video too small for the matte. You're actually smaller than the matte itself. If I can just get really small like so, see?



That's not a detriment. You could actually get creative and make a lot more different mattes from the mattes that you have by doing things like this. Now of course, that's not what we're doing here, so I'm going to go ahead and go back to where we were before. Let's just roughly say 50 and move it over like that. I'm calling that a win. I'm happy with that framing. Roll it back just to make sure that throughout the shot it's pretty good. It is great. All right. This shot is going to be a little bit easier because it's center cut. Most of the shot is in the center, but as you can see, it's a really weird crop. Let's go ahead and double click on this top one right here.



Let's see. Let's just shrink it down. See what happens. 55 seems pretty good. Boom. There you go. That's all we needed there really. Nope. It's not moving again. I made it too small. We just need to double click on that and let's just get it a little larger. There we go. Love it. Cool. Like I said, the beach shot's okay. It's not perfect, but if we go ahead ... That's this layer right here. It's not perfect. I would like to reposition it so you get a little bit more of the beach. Scale it down a little bit. Let's just go ahead and double click in there. Instead of getting this little tiny slice, let's just scale it down.



Scooch it on over. Scooch, scooch, scooch. That's better. Okay. I've been trying to give you a quick bonus tip in between every one of these techniques to keep things fresh and fast-paced, so I'm going to show you something else. This is compound nesting basically. You've already nested things. You're like, "Hey, that's great, but my timeline is still a mess. I don't want all of this in my timeline. When I added video, it's like this. Right? Couple layers. Nothing crazy. I don't want all this nonsense over here. Right? What do I do?" Well, it's simple.



If you're happy with the comp, right, and you want to be able to trim it and treat it like actual footage, like regular footage, highlight everything and hit nest. Just call this my three box edit. Right? Now check this out. It's just regular footage. You can slide it. Slide, slippity slide, do whatever you want with it. You can tweak it. You can edit it. I'm just going to trim it say there's only this much room in my shot, in my edit. There you go. Instead of having to go here and go, "Okay, everybody. I want this to stop right here. I'll take this, and I'll cut this, and I'll cut this, and I'll cut this, and I'll cut this, and I'll cut this.



Then I'll highlight everything and then I'll delete it." I mean that works, but you still have six layers in your timeline, right? Undo all that nonsense. You can take that same comp right there, that same grouping, highlight it, right click, nest it, call it whatever you want, and now you can trim it all you want. It's just one little thing. That's why I love nesting. Timelines inside timelines is super common and is not something to be upset about. I don't know why we get such hate mail about nesting. If you're really against nesting, I don't really know how to help you. Maybe hire a friend. I don't know. All right.



Moving on to our fourth and final shot. This is a great way to show multiple scenes of the same location or multiple people enjoying the same event or whatever. This is one of my most requested mattes, and we've done a variance of this matte probably a thousand times for our clients. Well, we just thought, "Hey, why not include something like this in our library for you guys?" How do you do this? Well, it's the same exact procedures. Let's go ahead and grab all of our stock footage and option drag it over here like so. We're going to need our Rampant mattes as well so highlight those over here as well. Of course, we're all occupying the same time, so we need to stack these layers.



Let's move these up to six, seven, eight, and nine. We'll move our stock over here, one, two, three, and four, like so. Okay. Now let's just start figuring things out too because we're dealing with eight layers. Let's be a little bit more organized with how we're doing things. Let's just start turning things off. Right? Let's just start turning off all these layers, so we're not going crazy with what we're looking for. Okay. This layer right here is the top left. If I turn this one on, it's the bottom left. Let's reorganize this. I think it'll be bottom left, top left like that. Right? Then this should be the bottom right, top right.



Okay. That's good. This should be our bottom right. This is our top right. This is our bottom left and this is our top left, right? Cool. Let's put this shot into that matte, the bottom right. Okay. What did we do before? Do we drag a Track Matte Key? What do we do? No, what we do is we always nest first, right? Go ahead and click on each of your layers individually, right click and hit nest. Right click and hit nest. Right click and hit nest. Right click and hit nest. Boom, boom, and boom. Cool. Now let's go ahead and drag our Track Matte Key. Remember we go to our effects window right here. If nothing's there, you can type in track.



You can also find it under video effects key, Track Matte Key, and just drag it to the very bottom layer. That's the one we're working on right now. Okay. Now what layer do we want it on? Let's just remind ourselves. We want it on the bottom right, part one, and that's on layer six. Right here. Highlight our bottom layer, hit shift five to go to effect controls, and tell our matte key right here we want this here, right here, our bottom right. That's layer six. Boom. Cool. That one's done, right? Now we want this shot right here, our generic mountain shot, we want that ... Go ahead and turn our bottom layer off and just turn this video on.



Let's just isolate the mattes we're going to use, right? This is going to be our top right matte is going to be this mountain shot. Cool. What do I do? Do I just drag the Track Matte Key over? I could or I can copy and paste from the layer beneath it because I've already done the work. On the layer beneath it, highlight it, hit copy on the Track Matte Key, and then go to the layer above, and hit paste. Then just say, "Hey, you know, this is not supposed to be in this layer. What layer are we supposed to be on?" Change layer from six to seven and boop. We now have that working. Right?



If I turn off that layer, and I turn off that layer, and I go back to my original, my bottom one, and I turn that matte on, we now have bottom right, and I can turn the top one on and top right. Now we've got half of our shot. Cool. Let's just keep on keeping on. Let's go ahead and turn our bottom two layers off, boom and boom, and turn our third layer on. We want to push this video through this hole. Let's go ahead on layer three. I can actually hit paste because I haven't copied and pasted anything, but the Track Matte Key from before. Then it'll just go ahead and tell us what layer it's on. That'd be video layer eight.



Boom. Now wedging this video into this hole, and we've only got one more video layer to do. We're so close. Turning these layers off. Boom. Boom. Turning the new ones on. We have ourselves this video going through this matte, right? Once again I'm going to hit paste, and I'm going to tell it to go to video layer nine. Boom. Okay. Now if I turn all my layers on, I now have four pieces of video in a quad matte on my timeline. Boom. Now of course, this is uglier than sin. It doesn't make any sense, and it's just nasty. Look at this thing. Look at that. That is not acceptable, unless we're doing . Check out this rock. Check out this rock.



That's just not all that exciting. This is why we nest. Let's go ahead and turn these layers off. We'll do one at a time. Just turn these all off. I want this shot in this matte. That's a problem. It's just over here. Let's double click, highlight this layer, scooch it all the way over, all the way down, and probably scale it down just a little. They go back to our main timeline, and it looks like I scaled it a little too small. Let's double click on that, which you know how we do. Like that. We have ourselves a matte. So nice. Okay. Cool. That's one. You just repeat this over and over again until you get what you like.



Right? She's good. This one is just my generic matte right up here at the top. That's right up here I believe. We can always turn our layers off if we don't know what's going on. Like I said, top right. Let's go ahead and double click. Remember we want everything to be in the top right, so let's just shrink it down a little bit like so. Scooch it on up. That's better. It's better, but you know what? It needs to be a little more. That's the great thing about nesting is I can do this all day long until my client is happy or I'm happy or both, although it's pretty rare that it's both. Just kidding. All right. Cool. Awesome.



We now have two mattes, repoed. Instant beautyness. I love it. That's great. Moving on to the next one. Again you can turn layers on and off to avoid confusion. We want layer three right here into here. I know for a fact we're not really all that interested in this particular rock, so let's double click. Boom. It looks like I need to scooch over just a little bit. Now we have ourselves three mattes. We've only got one left to do and that's this top layer. Let's go ahead and joop and joop like so. We have ourselves something that makes a lot more sense. Cool. Yeah. I like that. Let's go ahead and render it.



Boom. As you can see, you now have a really cool quad split travel video, and it doesn't take anytime to do it. I hope that helps. This is how you can use the new Rampant Travel Style Mattes. I hope you can see how powerful it is to have them both as regular traditional mattes as you've always seen like so up here. Let me just pop one open here. You've always seen our mattes like this where they're one singular animation. That's because a lot of people like to put one video into both mattes. Now we've also got them separated, which makes things a lot easier, and you don't have to do any masking. I really hope that you can see the power of our Travel Style Mattes.



I hope you like them. If you have any comments or questions, head on over to Rampant Community, that's That really is dot community. We get a lot of people going, "It can't be." Just type it in. See what happens. Of course, you can meet new people, discuss techniques, watch tutorials, and you can ask any questions and ask for future requests. Yeah, until next time, I'm Sean Mullen from . Thanks for watching.


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