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Video: Automatic matching

To use MatchMover. So you'll find automatic tracking under 2D tracking, and it's actually F10, or just select it here.
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Watch the Online Video Course Entertainment Creation Suite: Getting Started with MatchMover
1h 6m Beginner Feb 10, 2014

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Autodesk MatchMover is the perfect camera-tracking companion for Maya, and it now comes bundled with Maya 2010 and later. Staff author George Maestri gives you an introduction to MatchMover's interface and automatic matching capabilities, and then shows how to import MatchMover scenes into Maya, solve for cameras, and do object-based tracking.

Subjects:
3D + Animation Video
Software:
MatchMover
Author:
George Maestri

Automatic matching

To use MatchMover. So you'll find automatic tracking under 2D tracking, and it's actually F10, or just select it here.

And this brings up automatic tracking. Now there's a number of options that we can do. The first one is to say what's called delete soft tracks. Now we'll get into those a little bit later, but I'm going to go ahead and keep that clicked. We can also do automatic 2D tracking, which is what we want to do. And let's go ahead over here to Settings, and let's take a look at these. We can track using gray scale or color. Let's go ahead and leave it on gray scale. And we can also set a minimum track length. Typically this defaults to ten, but you can also make it higher.

What the track length is, is how long will a track appoint before it forgets about it. So the point has to be stable for at least ten frames in order for match mover to pick it up. For longer sequences this may create a lot of points which is not really what we want. So I'm actually going to bring this up a little bit, I'm going to bring it up to about 40. If we want we can also set the sensitivity and the density. So if we bring up a higher sensitivity you can notice how more points are going to be tracked.

If we bring it down, it's going to be less sensitive and it's only going to track a few points. So again, this will give you more or less points. The more points means the better, more accurate it's going to be, but also, the more stuff it has to take care of. So really what you want to do here is you want to get the best balance between the minimum number of points needed to accurately track it, versus having a lot of points that you have to deal with, and you really don't want that. And then also the density, how dense do you want these points? And typically for myself I tend to turn these down rather than turn them up, because I don't like a lot of superfluous data in my solution.

But again, this is going to be scene by scene dependent, so it just depends on what the scene is like. And then also displacement range. So 13 versus 128 pixels, this means how far does a pixel have to move before it'll start tracking it? The higher resolution your footage, the higher these numbers can be. And also with Match Mover you do want to get as high resolution footage as possible because that's going to create a more accurate track. So with all that in mind, we also want to do what's called solve for camera, and once we have all this, you can just hit Run.

Now, this is going to take a little bit of time. And what it's going to do is it's going to go ahead and find all the points it thinks are stable and it's going to track them. And once it's tracked all the points it will then solve for the main camera which means it will go ahead and figure out where the camera was compared to all of these different points. Now this may take awhile, so be patient. Okay, so now our track is done, and if we scrub through this, you can see how all of these points that it determined are actually tracking objects in the scene.

So for example, this point here is tracking the edge of that lamp. This point is tracking the top of the building and so on. And you can see how it's got all of these, and they're all tracked to that footage. If I go into 3D, well, you're going to get all this stuff. But really what it does is it actually puts a little cone here and it actually shows us where it thinks everything is in perspective. So each one of those cones is a point and it's also calculated where those points are, in perspective.

So once I have all of that, then I pretty much have, a track that I can use.

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