The film revolves around the rise of the main character's popularity, primarily through the sharing of video clips on the internet. Characters throughout the film use their cell phones and laptops to view these clips and receive messages. None of these screens were available for playback on-set and had to be added later.

All of the screen shots were tracked using Imagineer Systems incredible planar tracking software, Mocha (and Mocha-AE). Instead of selecting points to track, like traditional trackers in compositing software such as After Effects and Shake, Mocha uses a "2.5D" planar tracking system that ingeniously tracks planes rather than points - an easy alternative to problematic point tracking. Mocha easily exports 4-corner tracking data for import into After Effects.

Web sites were created as well as cell phone UI and integrated with video shot on-set and composited in After Effects. In several instances, rotoscoping was needed for subjects in the foreground.

This shot concept comprised of a full-screen football fight video that, as the camera slowly pulls out, reveals the video actually playing on a "YouTube style" web page. The camera pulls out even further, through the glass of the iPhone, finally ending on the same video playing back on a student's iPhone.

The clean plate footage was first stabilized in After Effects to allow for the resizing and camera zoom-out. The website and video element were composited together separately and integrated into a long zoom transformation. The iPhone's screen was made semi-transparent to allow the web page and video to zoom out from behind it. The video finally becomes part of the iPhone video playback UI as the zoom-out finishes.

To remove the phone number from the hot-air balloon, the balloon was first tracked in Mocha. Photoshop was used to paint out the number and recreate the balloon texture on a single frame. That frame was then composited into the shot using After Effects and the transform data from Mocha.

When this sequence was shot on-set, the actors threw fake and lightweight cinder blocks out of the frame, as a real cinder block is then dropped in front of camera, creating the illusion of throwing the block a great distance. When put together, the timing is a little off and the cinder block takes to long to fall.

To correct this, the cinder block was rotoscoped out of the clip several frames ahead in the shot and then composited back in several frames earlier, reducing the gap between the fall. Careful attention was needed for the debris that is kicked up by the block hitting the ground, requiring the grass to be rotoscoped out as well.

Color-correction was needed in these shots to convey that it is night time instead of dusk. In After Effects, the blue sky was keyed out and replaced with black, paying attention to the blue reflections on the actors, cars, and asphalt.

To simulate the effects of waking up after passing out, eye-lid masks were animated and the overall shot was blurred, with blooming and streaking highlight filters added in After Effects.

To make the character look like a tennis pro, hitting a tennis ball at the exact spot on the wall every time, a digital ball had to be animated into the shot. Using After Effects, key frames were set from the racquet to the wall, following the action and speed of the actor. Shadow was added on the wall and couch to add realism. Behind the character, the reflection of the ball was added in the window, between the blinds. The blinds were rotoscoped and the ball's animation was duplicated to achieve the reflection. To top it off, a handheld wobble effect was added to the locked-off shot.