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Entertainment Creation Suite: Getting Started with MatchMover
Illustration by John Hersey

Working with the Full interface


From:

Entertainment Creation Suite: Getting Started with MatchMover

with George Maestri

Video: Working with the Full interface

Up until this point, we've been working with the light interface of Now below this, we actually have a window which allows us Along the bottom here, I also

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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 Visual Effects
Software:
MatchMover
Author:
George Maestri

Working with the Full interface

Up until this point, we've been working with the light interface of match mover and that's really nice for automatic matching, but if you want to get more specific as to which points you want to match or have more control over match mover, then you need to use the full interface. I have a scene that's already been matched and let's just take a look at the interface against this scene. So I'm going to to go ahead and pull up the full interface by clicking on this pull down box here. And notice how we get a lot more control over the interface.

We still have our browser here, which has all of our objects in the scene, including our tracking points. Now below this, we actually have a window which allows us to see exactly what is being tracked on any individual point. So I can click on a point here and you can see exactly where that's tracked, or if I wanted to click on it in the scene, so for example I click on this one at this light post, you can see that is the target as to where it's going to try and track this. So if I click here, you can see it's set to the corner of this building and so on.

So as I scrub through this, you can also see how it will also update as to what it's trying to track. Along the bottom here, I also have all of my tracks on a timeline. So these are actually the keys that Match Mover generates when tracking this point to the 2D scene. So, for example, Track 01, has this timeline. And if you notice here, each one is either green, yellow, or sometimes, red. If it's green, that means it's a really accurate track.

If it's yellow, it's kind of medium; if it's red, well, then, it's what's called a bad track. So, we've got these for every single track in the scene. We can also view these in different ways. The default is what's called the track view. We also have a graph editor, which allows us to actually see them on a timeline as well as track status, which shows, again, a graphical representation of these. I typically work with track view and just work the colors.

Now over here to the right, we have information on each individual, track. So if I, for example, click on Track 01, you can see, all the information related to that tracking point. So we have the label of the track. If I wanted to, I could change the name of that to say Lamp or something like that. And it will actually change it. We can tell whether it's a hard track, whether you're going to use this to solve for 3D, and whether you want this reconstructed in 3D, so when we export to Maya.

Now down here we have, information about the track. We have the 2D information, which is how it tracks to the image, and this is actually our x and y components of that image, so where it is at any given point in time on that bit map. Now we also have a 3D representation, which is once we solve for camera, this is where it thinks it is in 3D space. So the 2D is matched to the image, and the 3D is what match mover derives as what it thinks the 3D information is.

At this point, you can do stuff like import what's called survey info. So if you actually have accurate measurements of a scene, you can import this here. You can say this is exactly ten feet from the origin, or something like that. So all of these go together to help create a more accurate track. So we're going to go through in the next couple lessons and actually use this interface to track some footage

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