Pete O'Connell is a feature film compositor at Barxseven Visual Effects in Montreal. His list of credits includes: Stranger Than Fiction, Just like heaven, Across the Universe, The Fountain, Mr. Magorium's Wonder Emporium, and the highly acclaimed Transporter 2.
Pete O'Connell has assembled all the most useful 2D tracking skills, the most important ‘Real world’ techniques you should have at your disposal when you are striving for a perfect result when stabilizing or match-moving. Learn to motion track text on your video images, seamlessly introduce moving video images into your existing video timeline, stabilize troublesome video images, and so much more!
VFX and compositing expert Pete O'Connell shows you advanced techniques for rotoscoping in After Effects that will change the way you think about one of the most challenging tasks for any compositor. Pete uses his unique style to show you the tricks he's picked up and created for big-budget Hollywood features. You'll learn how to use the entire AE toolset in entirely new ways.
You can find Pete O'Connell hosting in Creative COW's
Nuke forum.
Nuke, the new compositing tool from The Foundry, is rapidly becoming a favorite in high-end film production. Its price also offers an easy entry for indie producers who want to create better work, faster and more powerfully. This guided tour of Nuke for AE users, along with tips for leveraging your AE experience in the brave Nuke world of VFX creation will help you discover Nuke.
Expert film compositor Pete OConnell takes you through the world of Cineon files, including exactly what they are, how they work, and how to work with them in Adobe After Effects. If you work with film files or want to, you need to read this article.
High Bandwidth/Large File Warning: Due to the fact that this article deals with film images, the image sizes are large and this article contains 32MB of images in the HTML file.
Motion Tracking and Stabilization in After Effects by Pete O'Connell 
Advanced Rotoscoping Techniques for Adobe After Effects by Pete O'Connell 
