To start with I had to composite out the arm which was no longer going to be present in the footage. This was a painstaking process that sometimes required going in frame by frame and manually roto-scoping the mask.
Of course this left no data behind the mask for Aftereffects to work off of which required me to take a still frame of the actors hand and move it along with the rest of his body. Because he remained in a very controlled position through the whole sequence, his hand and arm stayed relatively still which made my job significantly easier.
Finally I needed a stand in for his gi top, which was no easy task because there was simply no easy data that could be readily applied. For this I took another still image shortly before his hand had occluded his top and masked out the portion I needed. Then I keyed the scaling, position, opacity, path.... pretty much every attribute, and painstakingly moved it to match the top as it moved with his body. Than using the match-moving function in Aftereffects, I tracked a null object onto the top of one of his patches and from there was able to use that as a base for my transformations, giving me a far smoother transition.
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