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At this point, we should have our footage completely tracked. Which means that MatchMover has calculated the position of these objects in the scene, and used them to determine the position of the camera. So remember as we scroll through that, what we've got here is MatchMover tracking these points and using that information to deduce where the camera was at. We can export all this data and use it in a 3D application. So we're going to go with File > Export.
And we're going to be able to export that to whatever 3D application we want. We have several different file types, we have everything from softimage to maya, cinema4D, 3D studio max. It can also export to FBX for any application that isn't in this list, most of them will support FBX so you can actually export to a wide variety of applications we're actually going to export to Maya. And we can export different types of things. We can export the camera, which is why we went through this whole process was to determine where the camera was, so we usually want to export that.
We can also export 3D points, which are these points in the scene. Now a lot of times I like to export this stuff because it gives you a sense of where everything was at in the scene. And it will help you to place additional objects in the scene when you go to do something like bring your assets into this backing plate. Now when you export 3D points, you can export only selected points or tracks that match these criteria. Now we have two types of track.
One is hard track. And soft track. Hard tracks are the ones that you define. Soft tracks are the ones that MatchMover defines. So this was an automatic match. So all of our tracks are what are called soft tracks. And we can also export according to what MatchMover thinks is the quality of the track either good, fair or bad. Now a lot of times we'll just click off bad, because we don't want any of the bad tracks and keep the fair ones or the good ones. What I like to do is I like to kind of reduces, because a lot of times you can get a lot of points in here, so if you click down to just the good points, that won't eliminate a lot of superfluous data when you get into Maya.
And then also we have some additional options. Do we want to animate the camera or the scene? Do we want to keep the camera still and move the scene around, or do we want to keep the scene still and move the camera around. Which one do you want? Typically, we're going to animate the camera because that's what's going to match the actual situation that we had when shooting the scene. And then also we can scale it. So, if you want to scale it up to match the scale of your scene. So now all we have to do is give it a name. I'm going to call it CityShot and hit Save.
Now I'm going to go over to Maya. Now that I'm in Maya this is Maya 2010 I'm going to go ahead and do open scene and I'm going to go ahead and find that file called CityShot.ma. Now it saves in Maya Ascii format and there it is. And you can see what it's done is it's created a camera, called RZ Camera One, which is its standard naming scheme. And that actually has a image plane mapped to it, which is our backing plate.
want to, I can actually take a look through my camera view just by going under
So when I take a look at this, say for example, if I go outside of this camera view into let's say a perspective window, You can see that all of these little locators are actually as close to where the original objects are as Maya can see. So, for example, let's take a look at say, one of these ones here. Like this one, really far away on the top of this building. If I go into my perspective view you can see that that particular one is way off here in the distance.
So you can use these points to actually find points in your scene. When you want to bring other assets into your scene. So I'm going to go ahead and keep this where it's at and we're going to go ahead and work with this file a little bit more and show you how to work with MatchMover derived data within Maya.
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