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mocha 2.6 Essential Training
Illustration by John Hersey

An AdjustTrack demo


From:

mocha 2.6 Essential Training

with Steve Wright

Video: An AdjustTrack demo

I've mentioned a few times how the planar tracker can introduce a bit of a drift over the length of a track. The Adjust Track feature is designed to compensate for that drift. First, let me do a watch-only demo to give you the big picture before we do it together and I am reusing the building tiltup clip. So I am going to draw a tracker right here, tracking spline and before I started tracking I am going to set the track Motion to Translate only and then I will start the tracker.
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  1. 5m 23s
    1. Welcome
      1m 40s
    2. Getting to know the user interface
      3m 43s
  2. 1h 7m
    1. Drawing X-splines
      8m 2s
    2. Drawing B-splines
      5m 4s
    3. Editing splines
      3m 52s
    4. Keyframing splines
      6m 33s
    5. Discovering the timeline controls
      5m 52s
    6. Walking through the New Project window
      4m 23s
    7. Working with interlaced clips
      8m 19s
    8. Setting the color space
      4m 46s
    9. Defining mocha preferences
      3m 46s
    10. Walking through the Layer Control panel
      3m 22s
    11. Walking through the Layer Properties panel
      3m 29s
    12. Viewing mattes
      3m 41s
    13. Walking through the Edge Properties panel
      6m 24s
  3. 1h 8m
    1. A planar tracking demo
      6m 36s
    2. Setting motion options
      13m 12s
    3. Adjusting the tracking spline
      8m 51s
    4. Tracking awkward surfaces
      6m 3s
    5. Understanding the planar grid
      6m 50s
    6. Dealing with lens distortion
      7m 43s
    7. An AdjustTrack demo
      5m 49s
    8. Keyframing the AdjustTrack
      7m 48s
    9. Offsetting reference points
      5m 49s
  4. 1h 8m
    1. Strategizing shape distribution
      11m 21s
    2. Working with large areas
      2m 44s
    3. Selecting a start frame
      10m 38s
    4. Replacing a shape
      2m 54s
    5. Keyframing: Bifurcation
      4m 38s
    6. Keyframing: Straight ahead
      5m 17s
    7. Keyframing: Extremes
      9m 22s
    8. Keyframing: Maximum digression
      6m 45s
    9. Converting to stereo
      2m 54s
    10. Inspecting your rotos
      4m 43s
    11. Rendering mattes
      4m 45s
    12. Exporting shapes
      2m 54s
  5. 1h 30m
    1. Moving the camera with parallax
      5m 30s
    2. Moving the camera without parallax
      3m 58s
    3. Using multiple splines in a layer
      7m 23s
    4. Subtracting shapes
      7m 6s
    5. Stabilizing the viewer
      5m 46s
    6. Keyframing during tracking
      7m 24s
    7. Unlinking the tracker
      5m 8s
    8. Tracking manually
      12m 35s
    9. Defining corner pinning
      5m 4s
    10. Going further into the Track tab
      6m 53s
    11. Utilizing the more advanced AdjustTrack features
      8m 40s
    12. Working with the Stabilize tab
      6m 11s
    13. Exporting track data
      8m 53s

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mocha 2.6 Essential Training
5h 1m Beginner Sep 30, 2011

Viewers: in countries Watching now:

mocha has always been very popular as a tracking tool, but with the rising interest in stereo 3D conversion, its rotoscoping capabilities have become a favorite player in that pipeline and sales have soared. In this course, Steve Wright covers the basics of operating mocha, as well as advanced tracking and rotoscoping techniques. The course also covers the mocha/Nuke stereo 3D production pipeline in detail.

Topics include:
  • Understanding mocha preferences
  • Drawing and editing splines
  • Creating grids for tracking awkward surfaces
  • Keyframing techniques for advanced rotoscoping
  • Making stereo 3D conversions
  • Stabilizing techniques for advanced tracking
Subjects:
3D + Animation Video Visual Effects
Software:
mocha
Author:
Steve Wright

An AdjustTrack demo

I've mentioned a few times how the planar tracker can introduce a bit of a drift over the length of a track. The Adjust Track feature is designed to compensate for that drift. First, let me do a watch-only demo to give you the big picture before we do it together and I am reusing the building tiltup clip. So I am going to draw a tracker right here, tracking spline and before I started tracking I am going to set the track Motion to Translate only and then I will start the tracker.

By restricting the Motion to Translate only the tracker will have more drift. This will allow me to give you a better demo. The drift comes into the fact that it's comparing adjacent frames and frame after frame after frame are small error slowly builds up and we get our drift. Okay, the tracking is done. We will jump back to frame 1 and I am going to rename my spline tracker. I am also going to turn off the tracking cog so we don't accidentally retrack this later.

Selecting my tracking spline I am going to turn on the Stabilize feature. The View or Stabilize feature will hold whatever spline you have got track steady in the frame. It will compensate for translation and scale but not for rotate or perspective. This makes it much easier to see when we are to locked on. I will stop this. I want to get in a little closer so we can see it better. So I want to move in here. Now I am going to turn on the planar surface. First, I will jump to frame 1, turn on the planar surface and I am going to carefully line it up.

So, each one of these corners is on a pretty visible spot that makes it real easy to see if we have drifted. Okay, you are the watching that the zoom window is over here. Okay, there we go. All right! Now I am going to play this and we can see that the planar surface is drifting off the target. You have quite a bit of drift down here. That corner is really bad, this is a little bit. This corner is not so bad, but we have lots of tracking drift. So let's fix it with the Adjust Track.

Stop that and jump to frame 1. Now I went to frame 1 because that was the frame that I used to line up the planar surface. So at this point the planar surface is at its perfect position. We then select the Adjust Track tab and we are now on a master frame. This is sort of like a keyframe. The difference is as you can see I get these little red Xs and if I move one frame off they go away. So the mater frame is the reference by which all the tracking drift will be calculated relative to.

You will notice as I select each of the reference points. they're still exactly on target. However, if I scrub to the end of the timeline, you can see it drifted rather badly off. Watch the current frame here compared to the master frame there. So that's my reference. This is where I am right now. So I am going to grab this point and readjust it to get it right back adjust it to give it right back exactly like the master frame.

This point now has drift compensated over the length of the shot. I will do the same thing for this point here. look how far this one is off. Okay, so I am going to reposition that one, come down here, reposition this one and this guy, it's gone out just a little bit. Fine! Okay. So we went to the last frame where the drift was the worst and adjusted the reference points to compensate for it. All right! We will go back to our Track tab and now when we play the clip we can see that the planar surface stays locked onto the target very nicely.

We will stop this and jump to frame 1. Now, let's see what happens when we attach our roto spline to this tracker. I will turn off the planar surface. I am going to draw a new spline here. This would be my roto. And again I am choosing real sharp corners to make it real easy to see the tiniest amount of drift. Get these points speeded up here watching the zoom view.

Make sure I get them right in there. And I am going to name this my roto and of course the roto has no tracking data. So now I am going to link the roto to the tracker. Again, roto is selected here, Link to Track and I will select the tracker spline. Now watch what happens when we play the clip. My roto spline is drifting off exactly like the planar tracker did before I did the Adjust Track.

The reason is I have not told it to use the adjusted track data. By default, it uses the original track data just. Just to show you a clear case, I am going to slide the playhead all the way down to the end. Now, watch what happens when I tell it to use the adjusted track from the tracker. Watch the spline's right side. See, that's the correction that it got from the Adjust Track. And now when I play the clip my roto spline stays locked on to the target. We will stop that.

In this example, we used Adjust Track to remove the drift from the tacking spline. You will see surely that we can also use it to remove any drift in the roto splines that are linked to it.

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